The A.V. Club's Scores

For 10,436 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:
10436 movie reviews
  1. Romantic comedies - and this is one, in spite of its phony irreverence - turn largely on star power, and theirs is transcendent, whether they're casually trading one-liners on the streets or doing running commentary on their sexual escapades. They'd have been better off staying in bed.
  2. Salvation Boulevard doesn't seem to have any higher aspiration than illustrating how religious people can be hypocrites. (Gosh, who knew?)
    • 32 Metascore
    • 16 Critic Score
    Viewers are left to wonder if it's all actually some sort of vehicle for subliminal messaging.
  3. Yes, the idea that the tree/father is literally tearing this family apart is way too blunt, but Gainsbourg and Davies sell it by playing the scenes naturally, with minimal histrionics.
    • 65 Metascore
    • 67 Critic Score
    The ending, which offers a hint of relief, is unfiltered, frankly unbelievable melodrama, but something grimmer and more measured would be intolerable after everything that comes before.
    • 42 Metascore
    • 50 Critic Score
    This latest film aims for "The Joy Luck Club's" crossover appeal but ends up stilted and emotionally remote.
  4. Winnie The Pooh is a storybook brought to life with intelligence, wit, and palpable affection; where so many kids' films try desperately to come off as hip and timely that they often feel tacky and instantly dated, Winnie The Pooh is bravely quiet, old-fashioned, and wry.
  5. McKinney may well be a madwoman, but Morris connects so deeply to her obsessions that the film's tone never seems exploitative or mocking.
  6. This is the most epic of the Harry Potter movies, the one that finally dispenses with side-quests and open-ended plotlines and offers up all the final payoffs.
    • The A.V. Club
  7. Poignant and powerful, complex and melancholy, the film ends with rehearsals for yet another money-grubbing comeback tour.
  8. The Ledge is a sometimes-fascinating, often-aggravating chamber thriller that works best when it's doubling as an inquiry into faith.
  9. The movie's gathering of third-rank action heroes provides sufficient brawn but precious little onscreen charisma, although Brian Cox's reliable bluster lights up his handful of scenes as a bellicose baron.
    • 50 Metascore
    • 75 Critic Score
    The setup and storyline are absurd, but the angst underneath is as earnest as a campfire confession.
  10. While the back-and-forth between various parties grows tiresome through repetition, Rapt rallies with a lengthy epilogue in which the aftermath of Attal's ordeal proves more draining than the physical privation that preceded it.
  11. It's clear what Breillat is trying to do here in the abstract - and The Sleeping Beauty is never less than gorgeous to look at - but the movie doesn't hang together as a story, and "stories" are what these fairy tales are meant to deliver.
  12. Nothing about The Ward's script or direction has much snap. The dialogue is never witty, the characters are indistinct, the story is set in 1966 for no relevant reason, and the scares are strictly of the "thing jumps loudly out of the shadows" variety.
  13. To an equal extent, Project Nim shows the human capacity for cruelty and narcissism as well as compassion and selflessness.
  14. In the film's funniest scene, a coked-up Day rocks out to The Ting Tings' "That's Not My Name" in a car in a state of ecstatic frenzy.
  15. As a study in insanity, Zookeeper is mildly interesting. But as a kiddie comedy, it's something to watch only once the little ones have worn out their "Dr. Doolittle" DVD.
    • 54 Metascore
    • 50 Critic Score
    It's too bad the wanness of the majority of those storylines makes it seem more like a fling than a relationship with any chance of going the distance.
  16. Through the ceaseless efforts of two dedicated pro bono lawyers-both with personal reasons to keep up the fight for five or six grueling years-director Yoav Potash follows every revelation and setback with an urgency most fiction films can't muster.
    • 66 Metascore
    • 75 Critic Score
    The film is as much music-video collection as crime drama: The interludes in which the songs swell into voluptuous prominence balance out a tale of crime and redemption so spare, it's almost abstract.
  17. deWitt's script is much better than anything Jacobs has worked on before, with a story that gets richer as it goes.
  18. It's best enjoyed as a crackling performance piece.
  19. The story feels half-considered, the relationships thin, and the direction visually indifferent.
  20. Monte Carlo finally resolves itself in a farcical climax that at least shows a little energy, but it isn't enough to overcome the discomfiting tensions and indifferent formula filmmaking that plagues nearly every scene.
  21. Over a difficult three-hour sprawl, Cristi Puiu's Aurora fully explores the time before and after a killer strikes, and it has the cumulative effect of making what passes for a "motive" seem absurdly simplistic.
  22. Solidly mindless, breathless summer fun.
    • 55 Metascore
    • 75 Critic Score
    General Orders No. 9 is bound to test the patience, but there are rewards to be found in its deliberate rhythms - foremost amongst them, the glorious, haunting visuals.
  23. The farce withers away when it should be expanding.

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