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. Overall, the narrative, performative, and visual splendor of The Sea Beast are enough to vastly outweigh minor issues in presentational consistency. This is a richly realized nautical world, with the animation team expressing an obvious love for the adventure stories that inspired it and a passion for telling a story as hopeful as it is exciting.
  2. This aestheticizing of troubled lives proves problematic over the long haul.
  3. Iron Island is at its most compelling early, as Rasoulof explores his human-scaled ant farm, detailing how people make lives for themselves in cramped quarters, using cardboard partitions and jerry-rigged appliances.
  4. When Raya And The Last Dragon takes the time to ruminate on grief and recovery from trauma, it meaningfully distinguishes itself from the rest of the princess oeuvre. Just as unique as the film’s world-building is its sense of hope burnished by loss, not undermined by it. Only the Disney boilerplate messaging—believe in yourself/others—obscures the power of this moving tale and how it captures, intentionally or not, a specific form of sorrow.
  5. Hard-to-follow action and a silly, inconsistent tone work against the film, but Hope's reluctant can-do attitude and wry comments keep the energy level up.
  6. Humpday carefully raises the stakes until it hits a finale loaded with humor, tenderness, and delicious ambiguity. It’s like "Old Joy" by way of Judd Apatow.
  7. Not especially gag-driven, May's deadpan style clears the way for some remarkable performances by Jeannie Berlin, Eddie Albert, and especially Grodin, who has to remain likable even while doing stupid, mean things.
  8. The Burial is dramatic yet also funny. It works because it isn’t afraid to be “inspired by” the story’s actual people and isn’t just content to retell the events of this little-known but highly consequential civil court case.
  9. As absurd as the situation gets--and the film occasionally launches into surreal asides that only heighten the absurdity--director and star both keep it grounded in the situation's emotions.
  10. Mandelup does, however, treat both the internet personalities and the fans beholden to them with great respect.
  11. The best moments of Maïwenn's Polisse, about the dedicated members of a Child Protection Unit in northern Paris, have the same quality, a fly-on-the-wall docu-realism that feels eerily like the real thing.
  12. Miracle Mile is uniquely weird, and one imagines that audiences who caught it in the theater (among the few who did, anyway) walked out feeling shaken by its ending, even in a world where the Doomsday Clock had safely clicked back.
  13. When pinned mostly in the man's bedroom, Amenábar's flashier instincts are stifled by a bolted camera and a procession of issue-of-the-week clichés.
  14. The artist's arresting images speak for themselves, even though now only the bystanders are left to tell his story.
  15. As with the Wallace & Gromit films, most of the fun is in the deft characterizations, the zippy banter, and the joyous sight gags.
  16. Dunham has taken her oft-articulated concerns about women’s empowerment and self-determination and transported them to 13th-century England in Catherine Called Birdy, a charming, clever, and altogether delicious comeback film that redefines Dunham in a way that just recently seemed unlikely.
  17. It’s a movie with no greater ambition than to charm and occasionally delight. Mission accomplished.
  18. Brizé doesn’t have the Dardennes’ gift for narrative complexity, and he stacks the deck against his hero more than is really necessary.... But The Measure Of A Man’s beating heart is Lindon’s performance.
    • 74 Metascore
    • 83 Critic Score
    The film toys with the idea that your identity is determined not by where you're from but where you find love. It's an intriguing theory that makes the otherwise simple movie seem more complex and frequently affecting.
  19. Though its bold genre gamble and strong lead turn from Maisy Stella keep My Old Ass from the YA slush pile, its feint towards being a more cerebral movie about hope and regret, two opposing forces separated only by time, infects the mediocrity of its more traditional story with disappointment.
  20. In spite of the uniformly strong performances, 13 Conversations largely factors out human nature, leaving a giant puzzle where each piece is pre-determined to fall into place. In the end, the Sprechers have a movie for people who brag about finishing the New York Times Sunday crossword in pen.
    • 74 Metascore
    • 83 Critic Score
    A remarkably faithful adaptation of Victor Hugo's epic 1831 novel about a lovable, golden-voiced hunchback and his trio of zany, wise-cracking gargoyle sidekicks, The Hunchback of Notre Dame should please both Disney fans and 19th century French romanticists alike.
  21. It’s the group’s most joyous installment to date, even if the series itself is starting to show some wear and tear.
  22. Mexican writer-director Fernando Eimbcke got his start in short films and documentaries, and his first feature reveals a gift for concision: It doesn't overexert itself trying to come to big conclusions about these characters, and even the comedic scenes settle for gentle quirks over broad guffaws.
  23. The film is an imposing, prismatic achievement, and strongly resistant to an insta-reaction; when it’s over, Nolan still seems a few steps ahead of us.
  24. Serenity is still taut, immersive, and alternately hilarious and heartbreaking, a well-balanced blend of whooping Wild West action and space opera.
  25. All of this free association falls under the wide umbrella of "experimental" cinema, meaning that the often flagging pace and incoherent stretches are balanced by sublime moments of inspiration.
  26. The gradual, matter-of-fact way that Côté transforms Ghost Town Anthology into an actual ghost story is quite impressive.
  27. What’s more, it’s fun, generating pleasure not from canned jokes or clichéd plot twists but simply from a sense of unhindered freedom.
  28. The film ends on a strangely moving theatrical exercise, as the various performers gather together on a soundstage recreation of the Ramsey home to dramatize all the major theories in tandem, creating an overlapping spectacle of speculative horror.

Top Trailers