The A.V. Club's Scores

For 8,421 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: 61
Highest review score: 100 Prince of the City
Lowest review score: 0 11 Minutes
Score distribution:
8421 movie reviews
  1. Fitting for a film backed by the groovy sounds of the Grateful Dead and Bob Dylan, the biggest myth Crip Camp is out to bust is that disabled people aren’t sexual beings.
  2. If you can look past the gallingly obvious and derivative metaphor, Vivarium has its moments of effective "Twilight Zone" creepiness.
  3. Resistance is like a maudlin Robin Williams vehicle inorganically fused with a by-the-numbers wartime thriller. In place of showbiz clichés, there are tacky WWII-movie tropes.
  4. The problem with Banana Split isn’t the surface phoniness or lazy comedy but the fact that the movie doesn’t offer any insight into its ostensible subjects—among them break-ups, female friendship, and teenage jealousy
  5. Hittman isn’t really a polemicist. She expresses her empathy and political conscience through a refined version of what’s become her signature style, zeroing in on details of place and behavior, both magnified by the reliably involving scenario of two kids from the sticks navigating the hustle, bustle, and bright lights of the city. And moments of startling, unaffected tenderness peak through the grimness of the circumstances.
  6. In attempting to tell the story of this young woman’s death — not her life, no time for that either — I Still Believe cheapens it.
  7. The real issue, though, isn’t that Bloodshot would fail an IQ test. It’s that its dumb fun isn’t executed with panache, smart or otherwise.
  8. A movie that jumps on buzzwords like “canceled” like a hungry dog on a juicy steak, but never coalesces into a coherent statement about, well, anything.
  9. What’s both intriguing and frustrating about the screen version, however, is the way that it flirts with a much thornier and potentially richer possibility, only to ultimately back away from that idea in favor of a straightforward plea for justice.
  10. A debauched but heartfelt coming-of-age story about impressionable teenage boys and the imperfect male role models who influence them. Davidson’s most important skill is his ability to share the spotlight and create real chemistry with his co-stars.
  11. Although it’s a reductive statement, calling Swallow a high-class version of "My Strange Addiction" isn’t entirely inaccurate.
  12. While the partnership between Wahlberg and actor-turned-director Peter Berg has produced a few duds since the success of Lone Survivor, none have been as generically mediocre. At the very least, one can appreciate it for being environmentally friendly.
  13. Just as it reduces Garrett’s character to a few tenacious traits, the film, in presenting his inspiring story, loses perspective on the broader picture.
  14. Just don’t mistake the lightness of step for a softness of philosophy. There’s a political dimension to all of Reichardt’s films, which almost invariably follow characters muscled to the margins of society.
  15. Between the known metatext and Affleck’s bone-deep commitment, this moving central performance largely purges the film of its high potential for the maudlin.
  16. In short, this is fundamentally a movie of surface pleasures, placing gorgeous actors in an equally stunning location and letting them parry with sharp words and lithe, angular bodies.
  17. Some jokes may dissipate quickly, but its unusual warmth lingers in the air like a friendly ghost.
    • 79 Metascore
    • 75 Critic Score
    Saint Frances goes down easy. It’s refreshingly small and intimate, and is specific on the lives of very particular women without overreaching to look more politically salient or strike zeitgeist concerns. Bridget’s personal growth is understated, and so, for the most part, are the pleasures of Saint Frances.
  18. Greed fails because it’s overstuffed with subplots and organized via a maddening time-hopping structure.
  19. Overly simplistic piece of Southern poverty porn, which asks questions it’s not really prepared to answer and proceeds from a set of dubious assumptions that undermine whatever nuance it does possess.
  20. Playing with genre cryptograms of gangster villas, opera-loving killers, and glamorously lit cigarette smoke, the film never takes itself too seriously, even if its characters never seem to smile.
  21. The film’s true power is elemental, rooted in weather conditions that all but erase the distinction between land and sky, and in the inky darkness of a tunnel traversed by one haggard, trudging figure whose weary body intermittently blocks a sliver of light barely visible at its far end.
  22. Moss also strengthens the notion that this is a monster movie unusually interested in looking past the toxic-male machinations of its famous character and toward the lasting horrors left in his wake. In other words, the stuff that previous movies, and real life, have sometimes tried to turn invisible.
  23. Watching Onward, it’s hard to shake the feeling that maybe Pixar has overplayed the mundane half of its winning equation. They’ve made a movie about looking for misplaced magic in the modern world that, well, kind of misplaces the magic.
  24. None of the mounting dread is surprising, and only some of it is more effective than the average haunted-whatever picture. But Brahms himself remains an oddball delight.
  25. The Night Clerk will be remembered, if at all, as a movie de Armas was way too good for — an unfortunate mile marker on her road to movie stardom.
  26. This all contributes to the impression that the director’s interest in the project came down to just about everything except the plot. Which is understandable given the source material, but doesn’t excuse the fact that The Last Thing He Wanted sputters on most of the basic terms it sets for itself. Still, there is at least some nobility to its failure.
  27. His muse Ventura is there, too, cast as a meta character; he plays a clerygman who has lost his flock and now ministers to an abandoned church that looks suspiciously like a small movie theater. Which is about as close as Vitalina Varela comes to bluntly stating its themes: presence, absence, rekindled faith.
  28. It deviates enough from formula — especially in its arresting ending, which takes full advantage of Bielenia’s haunted visage — to be worth seeing.
  29. Anchoring it all is horror darling Anya Taylor-Joy, who makes for a particularly icy Emma.

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