For 1,752 reviews, this critic has graded:
  • 50% higher than the average critic
  • 2% same as the average critic
  • 48% lower than the average critic
On average, this critic grades 1.7 points higher than other critics. (0-100 point scale)

A.O. Scott's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Aferim!
Lowest review score: 0 The Love Guru
Score distribution:
1752 movie reviews
    • 80 Metascore
    • 90 A.O. Scott
    Love & Mercy doesn’t claim to solve the mystery of Brian Wilson, but it succeeds beyond all expectation in making you hear where he was coming from.
    • 69 Metascore
    • 90 A.O. Scott
    More of a hoot than any picture dealing with the bloody, protracted fight between the Soviet Army and the Afghan mujahedeen has any right to be.
    • 81 Metascore
    • 90 A.O. Scott
    It is marvelously romantic, even though - or precisely because - it acknowledges the disappointment that shadows every genuine expression of romanticism.
    • 74 Metascore
    • 90 A.O. Scott
    The messiness of the film seems appropriate to its subject, which is the attempt to bring at least a measure of order - and even a touch of grace - to a chaotic and frequently ugly reality.
    • 84 Metascore
    • 90 A.O. Scott
    Volver, full of surprises and reversals, unfolds with breathtaking ease and self-confidence. It is in some ways a smaller, simpler film than either "Talk to Her" or "Bad Education," choosing to tell its story without flashbacks or intricate parallel plots, but it is no less the work of a master.
    • 82 Metascore
    • 90 A.O. Scott
    Who would have expected Ms. Zellweger --- and Miramax -- to come through in a musical? And it's one of the few Christmas entertainments to run under two hours. Who couldn't love that?
    • 84 Metascore
    • 90 A.O. Scott
    Though the movie is playfully postmodern in its pastiche of styles and its mingling of sincerity and self-consciousness, there is also something solidly old-fashioned about the way it tells its story.
    • 73 Metascore
    • 90 A.O. Scott
    Rust and Bone is a strong, emotionally replete experience, and also a tour de force of directorial button pushing. Mr. Audiard is a canny showman, adept at manipulating the audience's feelings and expectations with quick edits and well-chosen songs.
    • 69 Metascore
    • 90 A.O. Scott
    It is all perfectly dreadful and at times appallingly funny. Mr. Solondz winds thin tendrils of narrative around the dinner-table conversations, and allows everyone a chance to be earnestly foolish, unguardedly selfish and also, almost by accident, cruelly honest.
    • 83 Metascore
    • 90 A.O. Scott
    Ms. Holland, working from a script by Stepan Hulik, a Czech screenwriter born in 1984, turns a sprawling story into a tight and suspenseful ethical thriller.
    • 81 Metascore
    • 90 A.O. Scott
    It is a deeply personal piece of art that never descends into the confessional or the therapeutic, and a work of social and literary criticism that never lectures or hectors, but rather, with melancholy, tenderness and wit, manages to sing.
    • 90 Metascore
    • 90 A.O. Scott
    It is a crowded, complex crime story that is also a tale of sexual awakening and an understated exercise in kitchen-sink realism. In short - or rather at mesmerizing, necessary length - this film has everything, and is well worth a day of your life.
    • 80 Metascore
    • 90 A.O. Scott
    This Lady Chatterley, winner of five César awards in France, feels bracingly fresh, vital and modern.
    • 88 Metascore
    • 90 A.O. Scott
    Might be described as an epic landscape film, a sweetly comic coming-of-age story or a lyrical work of social realism. But the setting -- a windswept, sparely populated steppe in southern Kazakhstan -- gives the movie a mood that sometimes feels closer to that of science fiction.
    • 86 Metascore
    • 90 A.O. Scott
    Sweet Sixteen shows that he's (Loach) as capable of anger as his protagonist and just as eager to draw attention to an unchanging problem: the blight of generational poverty.
    • 87 Metascore
    • 90 A.O. Scott
    Encountered in an appropriately exploratory frame of mind, it can produce something close to bliss.
    • 77 Metascore
    • 90 A.O. Scott
    Mississippi Grind itself may be a bit of a throwback to the lived-in, character-driven, landscape-besotted films of the 1970s, but it’s less a pastiche or a homage than the cinematic equivalent of a classic song, expertly covered.
    • 69 Metascore
    • 90 A.O. Scott
    The film is a cat-and-mouse game in which each player thinks he’s the cat, making it both thrilling and disconcerting to watch. It is also a nature documentary about behavior at the very top of the imperial food chain and a detective story about the search for a mystery that is hidden in plain sight.
    • 75 Metascore
    • 90 A.O. Scott
    It is baffling and beautiful, a flurry of musical and literary snippets arrayed in counterpoint to a series of brilliantly colored and hauntingly evocative pictures.
    • 82 Metascore
    • 90 A.O. Scott
    The history presented in The Wind That Shakes the Barley hardly feels like a closed book or a museum display. It is as alive and as troubling as anything on the evening news, though far more thoughtful and beautiful.
    • 94 Metascore
    • 90 A.O. Scott
    [A] sensitive and devastating portrait of a long, happy marriage in sudden crisis.
    • 71 Metascore
    • 90 A.O. Scott
    Something not seen in movie theaters for a long time: an intelligent, modern screwball comedy, a minor classic on the order of competent, fast-talking curve balls about deception and greed like Mitchell Leisen's "Easy Living" and Billy Wilder's "Major and the Minor."
    • 69 Metascore
    • 90 A.O. Scott
    A sharp, small-scale comedy of male misbehavior that turns out to be one of this dreary spring’s pleasant cinematic surprises.
    • 96 Metascore
    • 90 A.O. Scott
    Mr. Affleck, in one of the most fiercely disciplined screen performances in recent memory, conveys both Lee’s inner avalanche of feeling and the numb decorum that holds it back.
    • 61 Metascore
    • 90 A.O. Scott
    You are not Doug Block, of course. Except to the extent - measured by the depth of your absorption in this remarkable film - that you are.
    • 83 Metascore
    • 90 A.O. Scott
    Delicate and altogether satisfying romantic comedy.
    • 81 Metascore
    • 90 A.O. Scott
    Ms. Campion, with her restless camera movements and off-center close-ups, films history in the present tense, and her wild vitality makes this movie romantic in every possible sense of the word.
    • 92 Metascore
    • 90 A.O. Scott
    In his memoir Mr. Bauby performed a heroic feat of alchemy, turning horror into wisdom, and Mr. Schnabel, following his example and paying tribute to his accomplishment, has turned pity into joy.
    • 83 Metascore
    • 90 A.O. Scott
    Everybody Wants Some!! is more than just nostalgic. It’s downright utopian, a hormonal pastoral endowed with the innocent charm of a children’s book. There are plenty of movies about lust-addled youth, but it’s unusual to find one that feels truly wholesome.
    • 61 Metascore
    • 90 A.O. Scott
    Maybe, beneath the stylistic flourishes and bursts of operatic emotion, it is a simple story of psychological struggle, about a man in midlife reckoning with the damage of his past. But to settle on that interpretation is to deny or discount the splendid strangeness of Mr. Sorrentino's vision - and also, therefore, of the curious corners of reality he discovers along the way.

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