The A.V. Club's Scores

For 10,414 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 2.6 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:
10414 movie reviews
  1. And yet the movie never errs in its sincerity, which extends all the way to the decision to depict Pasolini’s murder in graphic detail.
  2. Solid, creative melodrama is nothing to sneeze at, but it can’t compete with enduring genius.
  3. If one is not already paranoid about the relationship of politics, money, and the tech sector or about the industry’s general lack of perspective on itself, then this sort of uncritical puff piece should do the trick.
  4. The real model here, of course, is "Shakespeare In Love," but that movie was also a comedy, while Tolkien is as reverent and moist-eyed as a Peter Jackson goodbye scene.
  5. At least Long Shot acknowledges, more explicitly than usual, that it’s a kind of adolescent fantasy.
  6. It ends up a whole lot of cute, branded nothing — watchable junk for young adults of tomorrow to look back on with inordinate fondness.
  7. The scales ultimately tip slightly in favor of style, but when that style is this gorgeous, remembering a movie for the way it looks rather than its plot isn’t necessarily a bad thing.
  8. The story never even grazes the sublime; it’s dull and banal, coasting on familiarity from beginning to end. Here, the clichés don’t celebrate a reunion. They’re at war.
  9. The film is so full of jump scare fake-outs and shout-at-the-screen moments, it neglects to build sustained suspense — a far worse sin than its lack of logic, which can actually be kind of fun.
  10. What Tell It To The Bees accomplishes for queer romance it abandons with an ending that is committed to unnecessary melancholy.
  11. This is, in other words, Assayas’ homage to highbrow gabfests — the mid-period films of Woody Allen (complete with a Bergman reference) and especially the work of Éric Rohmer, the pseudonymous critic-turned-director who made a career of exploring his characters’ private dilemmas, but remained famously secretive about his own personal life.
  12. Adults in charge might want to take a cue from the movie’s penny-pinching, and save some money on movie tickets.
  13. The movie finally achieves some belated emotional power when it addresses, in its final minutes, Gorbachev’s beloved wife, Raisa, who died of leukemia in 1999. It does so, however, via clips from an entirely different documentary, Vitaly Mansky’s "Gorbachev: After Empire" (2001). Why not just watch that film, since Meeting Gorbachev never so much as mentions any event that’s happened since?
  14. As a documentary, Ask Dr. Ruth has it kind of easy: It’s got an enchanting subject eager to tell a fascinating story.
  15. While Benjamin’s choice to give Wendy little to no backstory makes sense given the film’s overall efficiency, Body At Brighton Rock would be more memorable if she was fleshed out a little further. It’s more fun to cheer for a character that you really feel like you know — even if you just met them.
  16. Unlike its subject, The White Crow is ultimately forgettable.
  17. An earnest, overstuffed, fitfully funny superhero melodrama, Endgame hits the buttons it wants to hit, and sometimes affectingly.
  18. This story remains fascinating, but the perspective here feels skewed.
  19. Little Woods revolves around a remarkable lead performance: Thompson shows her range as an actress in this film in ways that, as fun as they can be, she just doesn’t get to in any of her blockbuster roles.
  20. In some ways, Rafiki recalls Nijla Mu’min’s 2018 film "Jinn," which also superimposes a unique, beautifully realized point of view onto a conventional coming-of-age story.
  21. More fitfully funny than it is frightening, The Curse Of La Llorona might be the first film in the Conjuring universe to remain a standalone.
  22. In a film seemingly aimed more at teens than adults, Minghella effectively updates that familiar star-is-born template for an arthouse-minded Instagram generation.
  23. Lane’s lighthearted approach will probably convert more than a few viewers to the TST cause — it’s a short walk from pissed-off atheist to smirking satanist. Given how entrenched the culture wars have become in America, maybe all Satan needs at this point is a good publicist.
  24. Enabling and mocking paranoid obsession at the same time might sound incoherent. In this hilariously demented spin on L.A. noir, it’s simply honest.
  25. What’s most fascinating about Grass is the way Hong modulates the film’s atmosphere, gradually transforming its banal beginnings into something genuinely haunting and unresolved.
  26. While the story may be flimsy in places, the performances are anything but.
  27. Good intentions or not, it’s a little bit chilling, this fantasy world where “thoughts and prayers” really, truly are the best anyone can offer.
  28. The real problem with After is that it’s a lifeless slog of thinly written clichés, one that’s missing the charismatic spark of the actual One Direction boys.
  29. Moss attacks the role with a fearless lack of vanity, daring to make this nosediving rock star not just unlikable but downright irritating — as hard to endure as chipped nails dragging slowly down a chalkboard.
  30. Less a thrilling adventure tale than a trip to a teenager’s messy, sock-strewn bedroom.

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