The A.V. Club's Scores

For 8,663 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 Das Boot
Lowest review score: 0 The Avengers
Score distribution:
8663 movie reviews
  1. Ava
    Ava is a napping-on-the-couch movie through and through, with recognizable names and a sexy premise but no distinct personality.
  2. There’s something a little tidy about the resolution, closing a movie of messy emotional confusion on a note of affirmation and maybe even a kind of surrender. But On The Rocks shines brighter in the context of a career, especially in indirect dialogue with Lost In Translation.
  3. Mantello is the first to tell people he hasn’t had a lot of experience directing movies (his last feature was the 1997 adaptation of his Broadway hit Love! Valour! Compassion!), yet his version of Boys fights its stage roots far more than Friedkin’s film.
  4. The Trial Of The Chicago 7 wants to bottle the revolutionary spirit of its setting—the take-to-the-streets idealism of the ’60s—but its snappy montage-glimpses of demonstrations verge on costume-party kitsch. The movie is at its best and most persuasive in the courtroom, when Sorkin can draw on the clashes of ideology and personality.
  5. For a time, the film seems to offer only a close look at the bottom rung of the food chain, and that’s plenty gripping enough. But a kind of related narrative arc does gradually take shape from Kossakovsky’s remarkable footage, and it’s the harsh truth that there’s nothing actually natural about the lives of farm animals.
  6. The Calming ultimately might have benefitted from an animating tension—from something beyond its sustained mood of lovely but unvaried serenity.
  7. One is left to admire the literal and figurative wallpaper—to be blessedly distracted by the mise en scène and Puiu’s attempts to constantly vary how he’s filming a tedious tête-à-tête. He has a special gift for framing doors within doors, for instance. You may wish you could exit through one.
  8. The chemistry between Rodriguez and Wood is undeniable, and Rodriguez’s more naturalistic performance balances out her costar’s affected shuffling and deep, gravely monotone. Wood’s performance is sensitive, but it’s also silly at times.
  9. Without much of a mystery to solve, this young Holmes comes across more like a junior-level Wonder Woman: intelligent and highly trained yet puzzled by this unfamiliar, unfair world of men.
  10. Pure popcorn entertainment, superimposing the dynamic synths and narrative efficiency of a John Carpenter movie onto the burnished metal and green fatigues of a World War II adventure.
  11. The film has its heart in the right place, but its head is foggy and possibly concussed; it seems uncertain how to reshape its ripped-from-the-headlines story into satisfying drama.
  12. This film is charming and educational enough, but it’s not especially profound; it flirts with big ideas about the origins of life and the twin cycles of creation and destruction but doesn’t really let them sink in.
  13. As always, Wiseman’s approach guarantees memorable encounters.
  14. At times, we might be watching a deadpan workplace comedy; that it’s possible to laugh at this subject matter at all is a testament to its matter-of-fact presentation and maybe also to the extent that this virus has completely seeped into every corner of life.
  15. McQueen has zoomed in on a very specific milieu, but he’s also tapped into the universal and suddenly inaccessible joy of an endless night of music and dance, a house party for the ages. You don’t have to know your reggae or have been born 40 years ago to long for the ache of communal fun on which Lovers Rock waxes nostalgic.
  16. There’s something deeply appealing about an already stripped-down cat-and-mouse scenario that becomes dirtier and more elemental as it goes along, tracing a devolutionary arc from the rules of the road to primeval combat.
  17. The Father benefits immensely from Hopkins’ performance, which is among his most heartbreakingly vulnerable, in part because it briefly conjures the ghost of the actor at his most erudite and intelligent and dominant, than strips that away with the cruel indifference of dementia itself.
  18. The film is arguably too long, with a mushy middle section that slows the momentum of its savage first third. But Pike’s performance remains sharp as her character’s blonde bob throughout, and the pleasures of watching her and Dinklage face off are significant.
  19. It’s a little corny at times, but it looks good and has heart—and, let’s be honest, Black cowboys are pretty damn cool.
  20. It’s a useful reminder not just that this American hero was a widely vilified figure during his lifetime but also that he accomplished everything he did despite nonstop resistance from intelligence agencies, the media, and the public alike.
  21. The Truffle Hunters is more eccentric and lyrical than its logline might suggest.
  22. Shiva Baby is an assured and impressively choreographed debut that gets funnier with every new complication.
  23. The film may upset and incense multiple sides of the political spectrum: those who see protestors as dangerous chaos agents and those who might be offended by a depiction of them that risks reflecting those fears. Ambivalence aside, it works as a kind of gripping apocalyptic horror movie. There are no zombies, but the rich get eaten.
  24. Preparations inspires intrigue, then curiously squanders it.
  25. Everyone here is stuck in a movie that never lets its emotions breathe, in no small part because its director insists on gussying up a small character drama with plus-sized gestures.
  26. While there’s little disputing Sharrock’s empathy for his dislocated, stranded characters . . . there’s something rather limited about his alteration of dry fish-out-of-water gags and scenes of people staring forlornly into the barren middle distance.
  27. The Nest’s true star is that cavernous 15th-century mansion, which provides Durkin and Erdély with endless opportunities to carve out sinister voids that threaten to swallow this nuclear family whole.
  28. What’s haunting about The Devil All The Time — and, ultimately even a little hopeful — is this idea that there’s a world beyond this world, where perhaps not everyone is so cruel or intense. It may not be the biblical Heaven; but that’s okay. Sometimes Cincinnati will suffice.
  29. With its quasi-literary tone and over-calculated concessions to the messiness of real life, the movie settles for coming across like a clumsy amalgamation of the wonderful Amy Bloom short story “Love Is Not A Pie” and the 1998 Sarandon tearjerker "Stepmom." The hollow, unsatisfying feeling the movie leaves behind may be the most authentically funereal thing about it.
  30. The droll Twilight Zone absurdism is not without its pleasures, many of them comic.

Top Trailers