The A.V. Club's Scores

For 10,441 reviews, this publication has graded:
  • 51% higher than the average critic
  • 3% same as the average critic
  • 46% lower than the average critic
On average, this publication grades 2.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Badlands
Lowest review score: 0 A Life Less Ordinary
Score distribution:
10441 movie reviews
  1. Frozen II is just an echo, drawing prospective fans in without finding many new notes to hit.
  2. Garcia shoots Mother And Child with minimal flare, an approach that keeps the focus squarely on the cast, whose moving work helps pave over some of the narrative’s lumpier patches.
  3. Somewhere, buried under all that paint and glitter, there’s a lesson to take away from Thelma The Unicorn, but it’s nothing new.
  4. A gorgeous film, framed with an eye that makes every country seem beautiful in one way or another. It's probably fitting that the human element seems fragile and flat by comparison, but the contrast leaves Beautiful Country fairly bland.
  5. If one of the boundaries being tested in this film is viewers’ patience, the reward for—to use a refrain repeated throughout the film—“trusting the darkness” is well worth the commitment.
  6. For once, the frat boys are depicted not as lovable dolts or harmless pranksters, but as sadistic bullies. Likewise, their excessive initiation rites are played not for lowbrow comedy, but for something closer to horror. This is basically the anti-"Animal House."
  7. For all these films’ paeans to grime and sleaze, they’re controlled imitations rather than the uninhibited real thing.
  8. When the twists arrive, they feel like much of the film: creepy and cliché-free, but still terribly wrong.
  9. Intoxicates and overwhelms at the same time, giving off so much pleasure in a small space that the effect can be suffocating.
  10. The angrier the film gets, the less funny it becomes, squelched by heavy-handed polemics, a maddeningly repetitive musical score, and a running time that drags its overriding joke into the ground.
  11. Carion and his gifted leads never take the easy way out. Instead, they let the characters get acquainted against the slow change of the seasons, taking their relationship along unexpected turns.
  12. After a sentimental opening sequence, he (Kang) scarcely lets the film pause to breathe, which dulls its effectiveness.
  13. There's something disconcerting and strained about plastic smiles and speed-fueled peppiness of dancers in old musicals, a forced bonhomie that's borderline creepy. Pennies brilliantly exploits that blatantly artificial pep in queasy, disquieting ways.
  14. The small miracle of Leslye Headland’s second film as writer-director is not that it sidesteps its influences or shuns its genre. It’s that it somehow makes the lusty undercurrents of its male/female friendship unironically romantic and, at times, unapologetically sexy.
  15. All told, Ellison is a fascinating person to spend 96 minutes with. But you probably shouldn't risk that 97th.
  16. Wanted is a queasily unapologetic power fantasy about becoming a better person through violence.
    • 64 Metascore
    • 75 Critic Score
    The true joy of both Enola Holmes films is in the actors’ performances and the humanity they bring to the characters.
  17. At a minimum, his new film, Adoration, marks a welcome return to the Egoyan of old, the one who could spin seductive mysteries out of disassembled parts and show how images can be manipulated into comforting lies.
  18. Even when the story takes on biblical overtones, the melodrama never blossoms. And in terms of suspense, Gaia doesn’t so much tighten the screws as endlessly turn them in the wrong direction.
  19. A canny piece of autobiography that looks at the man behind the legend and the legend behind the man.
  20. Cop Land emerges as a first-rate morality play in the form of an effective, if occasionally unwieldy, crime drama.
  21. It’s comparatively short and fast-paced by modern standards. Unfortunately, it also has a lackluster plot; bog-standard chase scenes and pew-pewing space ships; a notable shortage of interesting characterizations; and a fight scene set to No Doubt’s “Just A Girl” that is nowhere as awesome or as silly as it should be.
  22. If nothing else, Leth shows how wrung-out and careless everyone gets amid constant bloodshed. "We don't need peace," one says. "We need school for our kids. Food. Sleep."
  23. Dolphin Tale is as casual as a pleasant afternoon nap and about as substantive.
  24. A Better Life leans too heavily on sad music, broad symbols, and weighty speeches to tell its story; it's more effective when it lets images speak in place of words.
  25. Mol nails it, in a performance that should earn her a comeback on a Heath Ledger-like scale.
  26. Fraser walks through this aggressively sappy drama with the aura of simple goodness that has served him well. But such concentrated radiance starts to feel like a denial of the painful reality Rental Family ignores. The movie wants to give you a hug, but you may be tempted to slap it across the face.
  27. It’s commendable to avoid further clichés with regard to the portrayal of physical difference in film, but Unstoppable fails to pin down what exactly should take their place.
  28. Most of the film isn't as willing to reach out to viewers, and most won't be willing to do all the work in order to connect with it.
  29. As a theatrical experience, it’s lots of fun, making clever use of proven techniques that build tension before releasing it with exploding light bulbs and ghostly figures appearing in the corner of the frame.

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