The Associated Press' Scores

  • Movies
For 1,489 reviews, this publication has graded:
  • 54% higher than the average critic
  • 2% same as the average critic
  • 44% lower than the average critic
On average, this publication grades 1.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Tootsie
Lowest review score: 0 The King's Daughter
Score distribution:
1489 movie reviews
  1. Project Power nicely mixes elements of sci-fi and crime thriller to create a cool trip with a wink, set against a soundtrack that includes 2 Chainz, Nipsey Hussle and Curtis Mayfield.
  2. A solid film with a few good gags and a fair amount of heart.
  3. It’s sluggish at times and too withdrawn for such a vibrant tale. But it stays nevertheless in tune with the spirit of Burnett’s book, and by the time it reaches its late crescendo, this “Secret Garden” blooms nevertheless.
  4. A novel like Coetzee’s invites readers to fill in the blank spaces. On a screen, we tend to crave more specificity. The result, coupled with a too-languorous pace, is a film that’s intermittently engrossing and always interesting, but less potent than it could have been.
    • 84 Metascore
    • 100 Critic Score
    King Beyoncé’s new film takes you on a journey of Black art, music, history and fashion as the superstar transports you to Africa to tell the story of a young man in search of his crown, matched to epic songs she created while inspired by “The Lion King.”
  5. The charms of Summerland aren’t in its plot. They’re in the sentiment, which is too good-hearted to be cynical about, and the characters.
  6. What most vividly comes across in The Fight is the never-ending nature of freedom and democracy.
  7. Franco has made a briskly entertaining debut feature, a nice way to spend an escapist summer evening. Not from your Airbnb, though.
  8. With some notable exceptions, this is a traditional treatment of an extraordinary life, complete with deathbed scenes that bookend the film and frequent lines, in Jack Thorne’s screenplay, in which Curie single-mindedly speaks of scientific progress less like a person than a grade-school teaching tool.
  9. The one saving grace is King, a genuinely delightful young actor who manages to hold your attention and empathy even if her underwritten character barely deserves it.
  10. Greyhound is perhaps not so much a thriller as a very spare, economical drama.
  11. Samberg is predictably charming and funny here. But it’s Milioti, who may be best known at this point as “The Mother” from “How I Met Your Mother” or “that girl who was in that one ‘Black Mirror’ episode,” who is the big revelation, finally getting the spotlight which has been a long time coming.
  12. The Old Guard, while in many ways typical, is wonderfully unconventional in all kinds of less obvious ways.
  13. Perhaps the most striking aspect of the film is how prophetic it is. Although it doesn’t offer any reflection on the current moment, it also won’t come as a surprise how we got here.
  14. Kail’s camera captures actors’ intimate faces during key moments in a way impossible for theater-goers and incorporates audience reaction to create an electric filmed version.
  15. It’s often hard to see comedies for what they are, or what they might be, on first viewing. But “Eurovision” is that rare film that strikes the right chord from the start. And, weirdly, it might even spark some interest in the actual show.
  16. Irresistible has its smart laughs and real pleasures.
  17. The documentary, directed by Bonni Cohen and Jon Shenk, is vigilant in widening is lens to capture the broader problems at USA Gymnastics.
  18. Objectivity is not Meeropol’s goal here but better understanding of who this slippery character is, and this film succeeds in that.
  19. Babyteeth is an assured and stimulating feature debut from director Shannon Murphy, who is working with a script by Rita Kalnejais. It is raw, funny and often uncomfortable.
  20. The tension escalates quite effectively, but the payoff feels weak, because the thing — or person, or whatever — that we’re supposed to be most scared of is hardly as scary as the buildup.
  21. For those who have spent the last few months hungering for a big-spectacle mess (they are, after all, a feature of summer moviegoering), now you can take in a big-budget flop from the comfort of your own home.
  22. Absorbing, brash, exhausting, urgent, sometimes brilliant and sometimes unapologetically messy
  23. For Miranda disciples, it’s essential. For everyone else? It is a good-natured peek at the origins of this freestyle hip-hop group, which ended up being a springboard for some pretty incredible talents
  24. There are few more daring actors around right now than Moss, and “Shirley” may be her best performance yet. She’s brutally cutting but the pain of every slight ripples across her face.
  25. It’s not a compelling environmental film or a good drama about racers. Like many of the electric cars on the track that season, it stalls.
  26. It’s both a compliment and a criticism to say that “On the Record” left me wanting much more.
  27. The Vast of Night is, in a slinky way, about escaping small-town small-mindedness.
  28. Yes, you’ll likely guffaw at one key moment, but it probably won’t spoil the fun. And when you catch yourself saying, “That wouldn’t happen!“— well, let’s remind ourselves that this is precisely the time for a little escapism.
  29. Watching The Trip to Greece at a time when such travel is impossible has only heightened the considerable pleasures of these movies (and made the food all the more appetizing). But mostly it’s reinforced the simple delight of sitting table-side with Coogan and Brydon. For all their trivial sparring, they are exceedingly good company.

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