The A.V. Club's Scores

For 10,413 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:
10413 movie reviews
  1. The power of this material—and of Dern’s devastating performance—stays with you.
  2. In showing us the interest one man takes in everything around him, he’s suggesting that living a life of simplicity and security can be conducive to beautiful expression—even, or perhaps especially, in a place as ordinary as Paterson.
  3. Without ever saying exactly what her heroine is thinking, Holmer captures a lot of what she’s feeling. And what Toni’s going through should be familiar to anyone who had an awkward puberty — which is to say, nearly everyone.
  4. We all lived through this not so long ago; it's an odd thing to make a film whose most striking effect is its ability to bring the feelings of Sept. 11 flooding back, then close on a profoundly disturbing note. A crasser film would have been easier to digest and dismiss. It's hard to do either with United 93, and that's either its genius or its folly.
  5. First-time director Jarecki, better known as the co-founder of MovieFone, skillfully integrates the home-movie footage with his own thorough inquiry, weaving past and present into a patient, deeply engrossing piece of storytelling that's rich in ambiguities.
  6. Though [Guinness's] performance may not immediately announce itself as his best, it's certainly one of his most representative, a thoroughly recognizable character of unseen depths and unexpected capabilities.
  7. American Hustle turns out to be a freewheeling party of a movie, one that never stops adding complications and wrinkles and hungry new players to the mix.
  8. The two main points Persepolis makes are that strife is relative, and all politics are personal.
  9. A surprisingly bittersweet love story at heart, Eternal Sunshine values the sum of experience, which in this case means a thorns-and-all openness to romantic possibilities.
  10. A big, family-style Italian dinner, catered to the broadest tastes, yet satisfying all the same.
  11. In examining the man’s selfless service, Moss uncovers something greater than a vision of a divided community; he’s made a drama as prickly and surprising as any fictional character study.
  12. More "Full Metal Jacket" than "Dead Poet’s Society," the film is an epic battle of wills between two fanatical artists, one doing everything in his power to painfully make a master out of the other.
  13. A different director might have fashioned the same basic material into something grandiose, but Huston errs on the side of understatement. Shot largely on location, this raw, pessimistic portrait of people struggling to keep from slipping all the way down reinvigorated the veteran director’s reputation, and stands as one of his best and most accomplished films.
  14. von Donnersmarck gives his debut feature, The Lives Of Others, no particular style, and the absence of visual risk-taking renders an exciting premise ponderous and stolid.
  15. Hellman gives viewers plenty of time to study every detail, dwelling less on action than on quiet, small-town vistas, rundown diners, and forgotten stretches of Route 66.
  16. Choreographed to the last beat, the action scenes have a depth that the film's thinly sketched characters never quite develop.
  17. It generates a sense of personal immediacy that elevates Minding The Gap above the confines of mere portraiture; his presence facilitates (and sometimes hinders) honest admissions from his subjects.
  18. Two Days, One Night is a small miracle of a movie, a drama so purely humane that it makes most attempts at audience uplift look crass and calculated by comparison.
  19. Killers Of The Flower Moon is as momentous as the country it’s set in and as full of history as the people whose murder it depicts.
  20. Unlike Wiseman’s greatest films, National Gallery never quite finds an overarching theme. There’s a fair amount of material regarding the art/commerce divide, but many scenes have no bearing whatsoever on that subject, and the film generally lacks urgency.
  21. As incisive as it is thrilling, Carpenter’s film is also gorgeous. Carpenter’s imagery is a thing of propulsive beauty that both enhances suspense and expresses his characters’ ever-changing relations to one another. It’s a fleet, ferocious piece of genre craftsmanship.
  22. It's a story worth telling, yes--but after 90 minutes, it's hard not to wonder if the storyteller can talk about anything else.
  23. In the wild and consistently surprising Y Tu Mamá También, anything isn't the half of it.
  24. Cagney's magnetism stems from his note-perfect combination of broad gestures and subtle shifts of posture, but the keen eyes of his directors are what make his gangster pictures classics.
  25. It isn’t Kurosawa’s best picture, by any means, but it’s almost certainly his most fun.
  26. One conundrum is that Elle is singularly a Verhoeven film, but doesn’t quite look like one.
  27. The movie seems like a perfect found object, as if it had always existed and was just waiting to be uncovered.
  28. After Hours is a caffeinated black comedy with an emphasis on speed. With a small crew and a tight shooting schedule, Scorsese transformed limited means into a staccato burst of creative energy, playing up the extreme paranoia and frustration of a data processor stranded in Soho.
  29. Spike Lee's documentary When The Levees Broke runs four hours, but Lee arguably says what he needs to say in the brilliant opening montage, which cuts together footage of New Orleans in the 20th century, including Mardi Gras parades, segregation marches, and flood after flood.
  30. In choosing cheap gags over incisive cultural commentary, Borat scores more as scatology than satire, but it's easy to overlook its ramshackle nature in light of the explosive laughter.

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