The A.V. Club's Scores

For 10,419 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:
10419 movie reviews
  1. It’s a precise study of how strife and conflict metastasize if left unresolved. And by grounding these fine-tuned dramatics in the guise of a genre picture, it works to profound effect.
  2. If The Boy And The Heron is indeed Miyazaki’s final film, it can serve as both a victory lap and a plea for a successor to arrive and take up the mantle of trying to make the world a better place through art.
  3. Wings is primarily a grand spectacle, with an ingenious piece of visual storytelling rolling along every few minutes.
  4. The Imaginary is an enchanting tale in which reality clashes with imagination in a battle to determine which is more powerful
  5. The film gives the audience a front-row seat and a pretty good approximation of what it was like to be there in the thick of it.
  6. Few artists can so seamlessly transcend artistic labels, but Annie Baker has proven that she possesses the natural knack for quiet storytelling across mediums.
  7. Flipside is Wilcha’s attempt to bring his life’s work full circle, a return to the personal self-reflection of The Target Shoots First, with the distance and hindsight that 25 years of life experiences will give you.
    • 86 Metascore
    • 91 Critic Score
    Beyoncé wants to show you the work, the grit, the ingenuity. She wants to show you, as she repeats, her renaissance.
  8. Working with a miniscule budget, Baron creates charged compositions out of found locations and makes a virtue out of the film's cheapness.
  9. And that’s perhaps the most amazing thing about Lisa Frankenstein: its instant timelessness. Sure, it may be a pastiche, or a love letter to previous eras, or any other euphemism for cinematic recycling, but that doesn’t prevent it from being just as much a singular creation as any of its forebears, sidestepping derivative rehashing in favor of an original take on teen angst that isn’t bound by its homage.
  10. Though Orion And The Dark appears to go through the motions of a family flick, it throws some serious curves en route to a loving yet emotionally devastating resolution.
  11. Despite its straightforward goal, Chicken For Linda!‘ never quite settles into a consistent tone. That may sound like a complaint, but it isn’t. Not knowing where the story will go next keeps things interesting.
    • 64 Metascore
    • 91 Critic Score
    This ramping-up of darkness from episode to episode is largely what justifies Kinds Of Kindness’ triptych structure. It never feels like these evenly-timed stories would fare better in isolation; they build upon and complicate one another, gelling into something haunting that fits the touted “fable” description.
  12. It’s a warm, approachable movie that you’ll get blissfully lost in.
  13. Rebel Ridge isn’t a lecture on civil asset forfeiture; it’s as elementally satisfying as a great Western. That’s really the genre Saulnier lands on here, complete with a moral clarity about its violence.
  14. Once intended as a remake of Dracula’s Daughter, Abigail evolved into its own thing, and fans of original horror ought to applaud. The former, honestly, isn’t all that great; the latter, figuratively and literally, dances rings around it.
  15. The result is a genuinely moving, absurdist autobiography of a dynamic persona in flux that’s as campy as it is charming, ridiculous as it is rapturous, preposterous as it is profound.
  16. While it connects as authentic and heartfelt, there’s also a sneaky profundity to match. Experiencing that in a theater alongside strangers is a very good thing.
  17. While the film is friendly to newcomers, there’s no question that it’s the fans who will get the most out of it.
  18. With its unexpectedly moving sights, remarkable voice ensemble, and pure clarity of humanist vision, The Wild Robot emerges as a stunning achievement.
  19. DiCaprio is so terrific, and Infiniti such a charismatic find, that viewers may find themselves wishing the cast, both principal and supporting (which also includes Regina Hall and Alana Haim), had room in this 162-minute movie to bounce off of each other with a little more frequency.
    • 71 Metascore
    • 91 Critic Score
    What stands out most about Tracie Laymon’s debut feature is how courageously, unapologetically earnest it is—that it was based on her own experiences only adds an extra level of vulnerability.
  20. Le Samouraï is a terrific film, at once a tense thriller and a fascinating character study, and only as cold as it looks until its unforgettable final scene.
  21. Eschewing the formal flare of his previous work, Rasoulof finds something more immediate here, a drama that burns like a political thriller and sears like a documentary.
    • 90 Metascore
    • 91 Critic Score
    All of this beautiful animation intrinsically drives at why people create in the first place, highlighting both the life-affirming and deeply messy realities of making manga.
    • 76 Metascore
    • 91 Critic Score
    This is art everyone can live for. And The Tales of Hoffmann makes it possible to live completely, gloriously within it.
  22. A Complete Unknown is an honest film that wants to get close to an enigma, maybe even unlock his mystery a little. After the film, Dylan might not be any less of an unknown, but it’s the film’s breathtaking pursuit that counts.
  23. By The Stream continues to meld the auteur and his muse with its two central characters, employing several of Hong’s narrative and technical staples with an air of heightened self-reflection.
  24. Heartrending yet never maudlin, I’m Still Here is a humanist drama that, in shining a light on insidious injustice, becomes a balm to warn and warm its audiences in equal measure.
  25. Sinners, which the filmmaker himself has been touting as his first wholly original feature (Fruitvale Station, his debut, was based on a real-life tragedy), is both Coogler’s most fantastical and most closely rooted in the history of American racism. It’s pulp from the heart and the gut.

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