For 1,712 reviews, this critic has graded:
  • 49% higher than the average critic
  • 2% same as the average critic
  • 49% lower than the average critic
On average, this critic grades 2.2 points higher than other critics. (0-100 point scale)

A.O. Scott's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Milk
Lowest review score: 0 Shoot 'Em Up
Score distribution:
1712 movie reviews
    • 86 Metascore
    • 100 A.O. Scott
    Of Gods and Men is supple and suspenseful, appropriately austere without being overly harsh, and without forgoing the customary pleasures of cinema. The performances are strong, the narrative gathers momentum as it progresses, and the camera is alive to the beauty of the Algerian countryside.
    • 70 Metascore
    • 100 A.O. Scott
    There are plot twists, and then there is what Ms. Ferran does here, which is to transform — impetuously, improbably and altogether marvelously — this somber, realistic tale into something else entirely.
    • 85 Metascore
    • 100 A.O. Scott
    With disarming sincerity and daunting formal sophistication The Tree of Life ponders some of the hardest and most persistent questions, the kind that leave adults speechless when children ask them.
    • 79 Metascore
    • 100 A.O. Scott
    In Summer Palace Lou nonetheless succeeds in finding a cinematic language that does more than summarize the important events of a confusing decade. He distills the inner confusion -- the swirl of moods, whims and needs -- that is the lived and living essence of history.
    • 84 Metascore
    • 100 A.O. Scott
    Shot in richly toned, wide-screen black and white, Aferim! looks like an elegant exercise in period playacting. But it casts a fierce, revisionist eye on the past, finding the cruelty and prejudice that lie beneath the pageantry.
    • 71 Metascore
    • 100 A.O. Scott
    Drinking Buddies, Joe Swanberg’s nimble, knowing and altogether excellent new film, refuses to dance to the usual tune.
    • 89 Metascore
    • 100 A.O. Scott
    Grace is also what defines Mr. Bahrani's filmmaking. I can't think of anything else to call the quality of exquisite attention, wry humor and wide-awake intelligence that informs every frame of this almost perfect film.
    • 82 Metascore
    • 100 A.O. Scott
    For a film geek this movie is absolute heaven, a dream symposium in which directors, cinematographers, editors and a few actors gather to opine on the details of their craft. It is worth a year of film school and at least 1,000 hours of DVD bonus commentary.
    • 92 Metascore
    • 100 A.O. Scott
    As sweet, as touching, as humane a movie as you are likely to see this summer.
    • 81 Metascore
    • 100 A.O. Scott
    A true crime story and a madcap comedy, a heist movie and a scalding polemic, The Big Short will affirm your deepest cynicism about Wall Street while simultaneously restoring your faith in Hollywood.
    • 86 Metascore
    • 100 A.O. Scott
    This movie is a blast of sheer, improbable joy, a boisterous, thrilling action movie with a protagonist who can hold her own alongside Katniss Everdeen, Princess Merida and the other brave young heroines of 2012.
    • 86 Metascore
    • 100 A.O. Scott
    The brilliance of The Babadook, beyond Ms. Kent’s skillful deployment of the tried-and-true visual and aural techniques of movie horror, lies in its interlocking ambiguities.
    • 85 Metascore
    • 100 A.O. Scott
    Meek's Cutoff is as unsentimental and determined as Ms. Williams's character, its absolutely believable heroine. It is also a bracingly original foray into territory that remains, in every sense, unsettled.
    • 69 Metascore
    • 100 A.O. Scott
    Its speedy, funny, happy-sad spirit is so infectious that the movie makes you feel at home in its world even if the landscape is, at first glance, unfamiliar.
    • 74 Metascore
    • 100 A.O. Scott
    It’s an exciting sports movie, an inspiring tale of prejudice overcome and, above all, a fascinating study of political leadership.
    • 89 Metascore
    • 100 A.O. Scott
    The easy, complacent distance that informs much historical filmmaking is almost entirely absent from this supremely intelligent, unfailingly honest movie.
    • 81 Metascore
    • 100 A.O. Scott
    It is a work of obsessive artisanal discipline and unfettered artistic vision. You have never seen anything like it.
    • 99 Metascore
    • 100 A.O. Scott
    Moonlight is both a disarmingly, at times almost unbearably personal film and an urgent social document, a hard look at American reality and a poem written in light, music and vivid human faces.
    • 92 Metascore
    • 100 A.O. Scott
    A painful, profoundly empathetic work of moral reckoning.
    • 66 Metascore
    • 100 A.O. Scott
    You will come for the kind of humor promised in the title and the well-earned R rating, but stay for the nuanced meditations on theology and faith.
    • 67 Metascore
    • 100 A.O. Scott
    The opening shot of Somewhere, Sofia Coppola's exquisite, melancholy and formally audacious fourth feature, prepares you for what is to follow in a characteristically oblique and subtle manner.
    • 76 Metascore
    • 100 A.O. Scott
    If 99 Homes is a scolding look at a society gone astray, it is also a minor masterpiece of suspense, as tightly wound as “Sicario,” Denis Villeneuve’s white-knuckle drug-war thriller, and almost as brutal.
    • 84 Metascore
    • 100 A.O. Scott
    A movie that is almost indecently satisfying and at the same time elusive, at once intellectually lofty -- marked by allusions to Emerson, Shakespeare and Seamus Heaney as well as Nietzsche -- and as earthy as the passionate provincial family that is its heart and cosmos and reason for being.
    • 78 Metascore
    • 100 A.O. Scott
    From its very first scenes, Mr. Whedon’s film crackles with a busy, slightly wayward energy that recalls the classic romantic sparring of the studio era.
    • 89 Metascore
    • 100 A.O. Scott
    The horror of The Act of Killing does not dissipate easily or yield to anything like clarity.
    • 84 Metascore
    • 100 A.O. Scott
    Even though The Square depicts widely covered recent events, it still feels like a revelation. This is partly because of the immediacy of Ms. Noujaim’s approach, which often puts the viewer in the midst of chaos as it unfolds.
    • 87 Metascore
    • 100 A.O. Scott
    There is hardly a shortage of movies about rock ’n’ roll, but there are few as perfect — which is to say as ragged, as silly, as touching or as true — as We Are the Best!.
    • 79 Metascore
    • 100 A.O. Scott
    J. C. Chandor, the writer and director of this pulpy, meaty, altogether terrific new film, and Bradford Young, its supremely talented director of photography, succeed in giving this beat-up version of the city both historical credibility and expressive power.
    • 94 Metascore
    • 100 A.O. Scott
    The best nondocumentary American feature made yet about the war in Iraq.
    • 89 Metascore
    • 100 A.O. Scott
    Her shoulders slumped, her eyes weary, her gait heavy, Ms. Cotillard moves past naturalism into something impossible to doubt and hard to describe. Sandra is an ordinary person in mundane circumstances, but her story, plainly and deliberately told, is suspenseful, sobering and, in the original, fear-of-God sense of the word, tremendous.

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