AV Club

Tomatometer-approved publication
Rating Title/Year Author
F () Vadim Rizov This isn't an argument for free speech, it's just paranoid whining, complete with a roundtable of comics sympathetically agreeing how sad and scary this all is, plus images of the Statue of Liberty with tape over its mouth. EDIT
Posted Oct 23, 2019
A Jenny Slate: Stage Fright (2019) Brianna Wellen Where some textbook comedy specials fall flat because of over-rehearsed jokes or stiffness, Stage Fright succeeds because it oozes authenticity, thanks in part to a combination of Slate's overwhelming joy and a display of deep vulnerability EDIT
Posted Oct 23, 2019
C+ Frankie (2019) Mike D'Angelo Sachs doesn't supply the neurotic wit that would make Frankie distinctive rather than just... nice. EDIT
Posted Oct 22, 2019
C+ Terminator: Dark Fate (2019) Jesse Hassenger Though Dark Fate gets more engaging as it goes on, its sci-fi ideas mostly amount to a listless skimming of hot-button issues. EDIT
Posted Oct 22, 2019
C+ The Current War (2017) Jesse Hassenger The movie wants very much to look at the past as a window to the future, but not as much as it wants to look at everything from endlessly, fussily canted angles. EDIT
Posted Oct 22, 2019
B- Synonyms (Synonymes) (2019) Ignatiy Vishnevetsky 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. EDIT
Posted Oct 22, 2019
C Zombieland: Double Tap (2019) Katie Rife When it comes to zombies, more is more, and there are a few good scenes of gory mayhem in this film. But when it comes to Zombieland movies, more is just tedious. EDIT
Posted Oct 17, 2019
C- Wounds (2019) Joshua Alston It's a shame the audience has to wait the entire runtime to see what, in a better film, would have been an inciting event rather than a last-minute stinger. EDIT
Posted Oct 17, 2019
D+ Jay and Silent Bob Reboot (2019) Ignatiy Vishnevetsky Awkward and unfunny in exceptionally long stretches, Reboot probably won't turn his diehard fans against him. But it's unlikely to win him any new converts either. For that, there's Clerks, Mallrats, or Chasing Amy. EDIT
Posted Oct 17, 2019
B- Grâce à Dieu (2018) Mike D'Angelo It's an approach that yields additional pathos, but at the expense of dramatic momentum; dispensing with all the shoe-leather sleuthing results in two-plus hours of demands for justice and accountability being politely stonewalled, over and over again. EDIT
Posted Oct 16, 2019
C The Cave (2019) Vikram Murthi The Cave isn't the best tribute to their actions. Instead, it's a monotonous descent into agony that coasts on the impossibility of anyone walking away unaffected by the imagery. EDIT
Posted Oct 15, 2019
C Maleficent: Mistress of Evil (2019) Jesse Hassenger Some movies twist; the Maleficent series politely flips on a signal before any turns. EDIT
Posted Oct 15, 2019
D+ Jexi (2019) Beatrice Loayza Surely, bland cultural insights can't defeat a film whose main attraction is the promise of stupid, raunchy fun? Reader, Jexi fails even at that... EDIT
Posted Oct 14, 2019
C The Addams Family (2019) Katie Rife Anyone who's still engaged by the end of the movie is probably too young to remember the original. EDIT
Posted Oct 13, 2019
C+ The College Admissions Scandal (2019) Gwen Ihnat There's unfortunately much too little about the real victims here-the hundreds of kids those spots belonged to in the first place, which they were robbed of due to a heartless mercenary conspiracy rooted in class privilege. EDIT
Posted Oct 11, 2019
C+ Mister America (2019) Ignatiy Vishnevetsky Running only a little shorter than the average season of On Cinema At The Cinema, it's never as cringe-inducingly funny or inventive as the webseries that spawned it. EDIT
Posted Oct 9, 2019
A- In My Room (2018) Mike D'Angelo [T]his droll yet poignant amalgam of the fantastic and the mundane ultimately suggests that while people can dramatically alter their behavior in response to extreme circumstances, on some fundamental level they don't really change. EDIT
Posted Oct 9, 2019
B- Gemini Man (2019) Ignatiy Vishnevetsky Like its characters, Gemini Man is groan-inducingly sincere, but runs like a machine when it counts. EDIT
Posted Oct 9, 2019
B Sea Fever (2019) Katie Rife So while the film puts its influences way out front, its impressive execution makes it well worth the 89 minutes. EDIT
Posted Oct 7, 2019
B+ Saint Maud (2019) Katie Rife As Maud's mental state spirals out of control, the film becomes both more surreal and more poetic, culminating in a shocking finale that sent a shiver through the Fantastic Fest audience. EDIT
Posted Oct 7, 2019
A Parasite (2019) Katie Rife If anything, Parasite is a condemnation of choosing to ignore the inconvenient suffering of your fellow human beings, presented in a seres of accomplished visual metaphors that'll make you rethink all sorts of ordinary household objects. EDIT
Posted Oct 7, 2019
C The King (2019) Jesse Hassenger Most of The King is just unadorned semi-prestige, with a few gruesome severed heads rolling around for cred. EDIT
Posted Oct 7, 2019
Braindead (1992) Scott Tobias [O]nce Lionel stops trying to cover up the zombie threat and starts fighting it, Dead Alive becomes a delirious showcase for molds, squibs, and other old-fashioned horror effects. EDIT
Posted Oct 4, 2019
B- Dolor y gloria (2019) Mike D'Angelo Banderas helps make the journey look rougher than it is. EDIT
Posted Oct 2, 2019
C+ Memory: The Origins of Alien (2019) Ignatiy Vishnevetsky The result often feels superficial; it is neither a definitive account of the creation of Scott's touchstone of horror and sci-fi, nor a cogent analysis of its aestheticized subtexts, those gritty and unnerving surfaces and the things lurking underneath. EDIT
Posted Oct 2, 2019
B Low Tide (2019) Jesse Hassenger Low Tide is mostly a genre exercise. But it's a disciplined, rigorously entertaining one. EDIT
Posted Oct 1, 2019
C Wrinkles the Clown (2019) Josh Modell Wrinkles The Clown has only the vaguest of justifications for its misdirection, which ultimately proves much less entertaining than a movie about a creepy clown who terrorizes misbehaving children ought to be. EDIT
Posted Oct 1, 2019
A- The Irishman (2019) A.A. Dowd This is the Scorsese of Silence, patient and methodical, and it brings out a subtle agony from De Niro one might have assumed the actor could no longer summon. EDIT
Posted Sep 27, 2019
Nightjohn (1996) Keith Phipps Smart, memorable and well worth seeing, Nightjohn is the sort of film that often gets undeservedly overlooked. EDIT
Posted Sep 27, 2019
B Dolemite Is My Name (2019) Katie Rife Like Rudy Ray Moore himself, Dolemite Is My Name is sometimes brash, always good-natured, proudly imperfect, and endlessly entertaining. EDIT
Posted Sep 26, 2019
B We Summon the Darkness (2019) Katie Rife It also hinges on a big plot twist, so all I will say for now is that it's the best Satanic Panic-inspired horror movie I have seen this year, and there have been several. EDIT
Posted Sep 26, 2019
B- Homewrecker (2019) Katie Rife Homewrecker was another pleasant surprise, even if its clever comedic writing couldn't quite overcome its sometimes subpar camerawork. EDIT
Posted Sep 26, 2019
B Color Out of Space (2010) Katie Rife So although the film is undoubtedly rough around the edges, its psychedelic horror elements are quite compelling and effective. EDIT
Posted Sep 26, 2019
B () Katie Rife It's a regular intergenerational summit of a movie, bringing together a young director on the rise, a cast of veteran actors, and a recently relaunched magazine for an '80s exploitation throwback that's outrageous in all the right ways. EDIT
Posted Sep 26, 2019
C- In the Shadow of the Moon (2019) Katie Rife In The Shadow Of The Moon is a disappointing misfire all around, but no matter-like so many other Netflix original films, it'll be reabsorbed into the streaming void soon enough. EDIT
Posted Sep 26, 2019
B+ First Love (2019) Mike D'Angelo Not exactly The Notebook, then-but as an action-comedy, First Love ranks among Miike's most purely entertaining movies (out of more than 100 now!), gradually building steam until it reaches a sustained pitch of cheerful insanity. EDIT
Posted Sep 26, 2019
B+ The Day Shall Come (2019) William Hughes [A] bitter and bracingly funny new political satire from British dark-comedy master Chris Morris. EDIT
Posted Sep 26, 2019
B- The Death of Dick Long (2019) Ignatiy Vishnevetsky [I]t is probably best seen with zero foreknowledge. EDIT
Posted Sep 26, 2019
B Madonna: Truth or Dare (1991) Noel Murray As it stands, Truth Or Dare is useful today largely as a study in marketing. EDIT
Posted Sep 24, 2019
B Adoration (2020) Katie Rife Adoration, the new film from Alleluia director Fabrice du Welz, also casts a seductive spell. EDIT
Posted Sep 24, 2019
C+ In the Tall Grass (2019) Katie Rife Either way, the movie is a mixed bag, well shot and well acted enough to mostly keep the viewer's attention, but meandering enough to frustrate at the same time. EDIT
Posted Sep 24, 2019
B+ First Love (2019) Katie Rife The bloodshed is relatively straightforward, but plentiful... EDIT
Posted Sep 24, 2019
B- The Golden Glove (2019) Katie Rife And while that opening scene is undoubtedly shocking, the cumulative effect of all this despair is ultimately even more unsettling. EDIT
Posted Sep 24, 2019
Dracula (1931) A.A. Dowd Certainly, there's a liveliness here that's noticeably absent from Browning's stiffer interpretation. EDIT
Posted Sep 23, 2019
C- Rambo: Last Blood (2019) Ignatiy Vishnevetsky Rambo has always been a monster, but in his old age, he has become something even worse: no fun. EDIT
Posted Sep 20, 2019
B Between Two Ferns: The Movie (2019) William Hughes The jokes are still perfectly crafted and savvily delivered, but a lot of the subversive thrill is gone. EDIT
Posted Sep 20, 2019
B- Abominable (2019) Jesse Hassenger For the first time in a while, DreamWorks seems to be trusting its filmmakers with a semi-original idea, rather than racing breathlessly to the finish line. EDIT
Posted Sep 19, 2019
B+ Yomeddine (2018) Roxana Hadadi Yomeddine is carried along by strong performances from its central pair of actors, whose affection for each other permeates throughout a narrative of both tragedy and triumph. EDIT
Posted Sep 19, 2019
B+ Love, Antosha (2019) Roxana Hadadi Though clearly an adoring tribute, Love, Antosha allows its subject a sort of complicated humanity that expands our understanding of him. EDIT
Posted Sep 19, 2019
C+ Bloodline (2018) Roxana Hadadi Bloodline gives its characters just enough interiority to probe at the idea that parenthood's 'love and total panic at the same time' can push someone toward murderous madness. EDIT
Posted Sep 19, 2019