The A.V. Club's Scores

For 7,548 reviews, this publication has graded:
  • 50% higher than the average critic
  • 3% same as the average critic
  • 47% lower than the average critic
On average, this publication grades 2.9 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 The Unbearable Lightness of Being
Lowest review score: 0 Atlas Shrugged III: Who Is John Galt?
Score distribution:
7548 movie reviews
  1. With its blaring hardcore punk soundtrack and aggressive neon color palette, The Ranger isn’t remotely subtle. Given the type of movie it is, that’s mostly a good thing, though the in-your-face style gives away some of the aforementioned character-driven twists earlier than it should.
  2. In almost all respects, but especially structurally, Mile 22 is a mess.
  3. It’s gnarly as hell.
  4. It’s Close’s wonderfully subtle characterization of Joan that lifts The Wife above its cliché setups and neat role reversals, which is really rather ironic. Once again, it’s the wife doing all the hard work. At least this time, she gets top billing.
  5. Alpha has been sold, to some degree, as a family-friendly film, and while it’s too violent and perhaps too heavily subtitled for young kids (or, for that matter, some adults, who may notice how superfluous much of the dialogue is), it’s easy to picture some 10-year-olds taking to its exciting, cornball charms.
    • 82 Metascore
    • 58 Critic Score
    Unlike Sean Baker, who grounded his "Florida Project" in a firm but never condescending viewpoint on the milieu, Zagar seems to lack a coherent directorial perspective on Torres’ story; he mistakes vérité-style handheld and frequent close-ups (mostly captured with wide-angle lenses) for genuine intimacy and engagement.
  6. It generates a sense of personal immediacy that elevates Minding The Gap above the confines of mere portraiture; his presence facilitates (and sometimes hinders) honest admissions from his subjects.
  7. Epistolary courtship can be achingly romantic—but only on paper, where it belongs.
  8. Like the best musicals, Crazy Rich Asians joyously embraces a heightened aesthetic while keeping its story grounded in real emotional truth.
  9. The film’s dialogue and characterization are similarly undercooked: The script strains painfully hard for off-the-cuff vulgarity, but never quite achieves it, and while the pop culture references—always a punching bag for critics when dealing with nostalgia-themed entertainments—are applied sparingly, the tin-earned dialogue gives them an awkward, shoehorned-in quality.
  10. Madeline’s Madeline, the third feature from writer-director Josephine Decker, is a self-devouring thing: a movie about artistic process that doubles as a document of—and even a commentary on—its own artistic process.
  11. In a movie this flat-out dull, even a tasteful lack of direct exploitation feels like a failure of nerve.
  12. Although he’s made his most narratively entertaining movie in years, the filmmaker often still privileges polemical discourse over drama, grinding things to a halt for minutes-long speeches—he’s not so different from Godard in that way—and sometimes getting rather on-the-nose with the already exceptionally apparent contemporary echoes.
  13. In fact, all the weed smoking and street-smart sidewalk banter aside, Skate Kitchen’s perspective is, in many ways, downright innocent; as such, it may be a better fit for adolescent viewers than adult ones.
  14. The Meg is lackadaisically paced, dull to look at, and has trouble keeping track of space and plot.
  15. Director Jean-Stéphane Sauvaire (Johnny Mad Dog) makes some audacious, impressionistic choices, focusing on the nexus of sensual and brutal, but this is the rare true story that really could have used some creative embellishment.
  16. If Dog Days were a little weirder, it would just be a smug anti-comedy takedown of a late-period Garry Marshall picture, like "They Came Together" with its biggest laughs edited out.
  17. A generic and frankly very tedious compendium of YA clichés.
  18. Beneath its wistful tone, Christopher Robin supplies the purest wish-fulfillment fantasy that a children’s movie can offer adults: that our childhoods miss us as much as we miss them.
  19. Perversely, it’s only after Like Father is in the clear from its potentially ridiculous set-up that it really starts to trade in phony sitcom-movie bullshit.
  20. Much of what’s around them is rote and uneven, but Kunis and McKinnon are a comedic duo worth hanging on to.
    • 75 Metascore
    • 75 Critic Score
    Like Gus Van Sant’s "Last Days," Nico, 1988 is at its best in these liminal moments, its creation of a cognitive space to ponder an artist’s legacy, as well as literal spaces that reflect it: faded ballrooms, twilit monuments, bleary countrysides. Unlike that movie, though, Nico, 1988 occasionally succumbs to hoary biopic clichés, awkwardly imposing narrative beats.
  21. Fishback and Hall move confidently between the obvious ironies and foreshadowings of Spiro’s kitchen sink (as in, “everything but the ______”) realism.
    • The A.V. Club
  22. It’s telling that the filmmaker captures one of Gallagher’s best moments in a long and relatively uneventful take situated at a breakfast table; this movie may wander, but Akhavan’s attention to perfect little moments is unwavering.
  23. D’Souza fails, as ever, to make an argument that would resonate outside the QAnon echo chamber.
  24. For all of this ersatz panache, the plot of Hot Summer Nights is both groan-inducingly contrived and vapid, its talented young cast wasted on an incoherent script—less a web of betrayal, greed, and adolescent desire than a few dangling threads.
  25. The film is consistently beautiful to look at in an “industrial metal album cover” kind of way, pairing dimly lit, black-and-white cinematography and artfully composed mise-en-scéne.
  26. Moving like the lit fuse that blazes brilliantly across the opening credits of both the original Mission: Impossible television series and its first big-screen adaptation, Fallout turns out to be a breathlessly exciting action spectacular: the blockbuster spy thriller as sustained endorphin rush.
  27. There’s nothing especially wrong with the arty horror movie that Good Manners becomes, mind you, and the metamorphosis (unexpected, for those who haven’t read a review or seen the poster image, anyway) offers pleasures of its own.
    • The A.V. Club
  28. It’s hard to fault Puzzle for going in a more rigorous, serious-minded direction... until it trudges in that direction with such repetition. Turtletaub and his screenwriters lay the borderline-anachronistic details of their heroine’s oppressive life on so thick that the movie starts to sag.

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