The A.V. Club's Scores

For 8,248 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 2.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 It Follows
Lowest review score: 0 A Glimpse Inside the Mind of Charles Swan III
Score distribution:
8248 movie reviews
  1. Instead of deepening his material, Condon has made an unsuccessful fling of a movie: fun for a while, but trying to get as far as it can by leaving crucial material off of its profile.
  2. Dark Waters would likely have been a forgettable mediocrity in anybody’s hands, given its fact-based, muckraking limitations. Coming from the visionary who gave us Safe, Far From Heaven, I’m Not There, and Carol, it’s a crushing disappointment.
  3. Setting aside more particular genre trappings, Mangold re-engineers one of his unfussy studio throwbacks into a supersized Dad Movie event.
  4. Where it fumbles is in the framing device.
  5. While it never feels completely defeatist, her film offers scattered snapshots of an uncertain society in its dog days.
  6. The overall look of the film has the shiny, empty appearance of a newly rehabbed condo, and the quips about women’s love of cheese and gigantic closets have a similarly hollow sassy-greeting-card feel. But the outfits in those closets, it must be said, are fabulous.
  7. Noelle has a few of those peppermint hot chocolate moments, but thanks to its bizarre warm-weather detour and wasting of a stellar cast, it just barely makes the nice list.
  8. Atlantics is most successful as a look at a particular milieu, which makes one wonder if Diop might have been better off just making a longer nonfiction film on the subject.
  9. The actor’s (Driver) performance isn’t just gripping; it’s inspiring. He’s not just portraying Jones; he’s embodying an ideal.
  10. It’s more tedious than unwatchable, and pint-size Cena fans may be curious to see him in a movie more compatible with his Kids’ Choice Awards hosting gigs than the likes of "Blockers" or "Trainwreck." Sadly, the movie never shows similar curiosity about what its young audience, and subjects, might be thinking or feeling.
  11. A stolid film that largely rests on its director’s competence at helming extravagant aerial views of pyrotechnic destruction.
  12. As escapist comfort-food cinema goes, this is a stick-to-your-ribs, tryptophan-coma-size helping.
  13. One hires Cage for a generic timewaster like this in the hope that he’ll make it at least a little more interesting on screen than it was on paper, by virtue of some crazed facial expressions and off-the-wall line readings, but he evidently wasn’t in the experimenting mood.
  14. While researching the project, Greenfield herself thought she might find a “redemption story.” But the film eventually proves to be a far more troubling examination of the Marcoses’ continued political hold in the Philippines.
  15. Watching the remake over-explain every joke and dramatic beat only increases one’s appreciation for how the original trusted its young audience to understand subtext, satire, and emotional nuance.
  16. The truth is that a movie about deeply personal obsessions can’t work if it doesn’t have some of its own, and the prevailing mood of The Current War is indifference.
  17. There’s really not much to recommend about this film: the animation lacks texture, the score is overwrought, the plotting is scattershot, and the character design is uninspired.
  18. For as much as the story concerns leaping into other people’s heads, Flanagan never quite gets into Danny’s; his tortured grappling with his memories is abstract at best, McGregor’s mostly functional performance failing to offer the necessary window into that process.
  19. It seems as though the artist, all too aware of his reputation for both pageantry and shock value, has decided to offer nothing of the kind.
  20. While the contemplative tone and measured pacing are definitely features instead of bugs, Light Of Light is so anodyne at times that it borders on inert.
    • 66 Metascore
    • 67 Critic Score
    A better version of Harriet might have kept the focus squarely locked on the real-life hero at its center, instead of defining her through the relationship with the man who once owned her.
  21. What made this particular project so toxic? Simple: American Dharma is a fundamentally cordial conversation with Steve Bannon.
  22. This passion project also lets Norton indulge in the kind of tic-heavy acting challenge he embraced early in his career.
  23. This accessibility actually hurts the film, exposing the flimsy balsa-wood architecture under all those frills.
  24. No Safe Spaces caters to its intended viewers’ least savory biases, making sure all student activists shown fit into particular categories—overweight, gay, or simply “angry and black”—that stoke the resentment of the target demographic.
  25. A generically competent but unsuspenseful chase film that never lives up to its potential for either social commentary or thrills.
  26. In Countdown, it’s the audience that really gets cheated.
    • 60 Metascore
    • 58 Critic Score
    Its depiction of toxic masculinity and bloodthirstiness within the U.S. Army is blunted by an overly passive lead performance and a lack of specificity in its storytelling.
  27. Dark Fate serves as a case study for the difficulty of crafting a satisfying follow-up to a pair of certified classics, a process that seems to involve constant toggling between hopelessness and insisting that all is not lost. As such, it’s hard to blame Cameron for keeping his old series at arm’s length. It’s also hard to stay interested in a franchise that looks, with each inessential sequel, more and more like a doomsday prepper rephrasing the same old prophecy.
  28. Above all, it’s about the impossible desire, shared by both expats and artists, to forge an identity of one’s own. But whereas the films it quotes sought to create cryptic and contrapuntal meanings, Lapid errs on the side of the loudly obvious, building to a final shot that might as well be a thesis statement for the rest of the film.

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