For 1,500 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 2.9 points higher than other critics. (0-100 point scale)

A.O. Scott's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Hot Tub Time Machine
Lowest review score: 0 MacGruber
Score distribution:
1,500 movie reviews
    • 64 Metascore
    • 80 A.O. Scott
    Altogether compelling.
    • 71 Metascore
    • 80 A.O. Scott
    This movie...is a lovely example of the strong realist tendency in Japanese animation. Its visual magic lies in painterly compositions of foliage, clouds, architecture and water, and its emotional impact comes from the way everyday life is washed in the colors of memory.
    • 58 Metascore
    • 80 A.O. Scott
    It manages, in the end, to be touching as well as hectic and whimsical, and to send a few interesting thematic bubbles into the air, having to do with lost fathers, obscure regrets and racial reconciliation.
    • 69 Metascore
    • 80 A.O. Scott
    The picture is about victims -- but it's also a great, sick rush with a kicker on the level of "The Vanishing."
    • 74 Metascore
    • 80 A.O. Scott
    Though the narrative is spotty, and occasionally confounding, there is an epic warmth in the way it's rendered.
    • 69 Metascore
    • 80 A.O. Scott
    Ms. Fanning, who is younger than her character, shows a nearly Streepian mixture of poise, intensity and technical precision. It is frightening how good she is and hard to imagine anything she could not do.
    • 57 Metascore
    • 80 A.O. Scott
    Just know that you'll owe Master of the Flying Guillotine for the pleasure you'll get from viewing a venerable example of the kung fu genre.
    • 66 Metascore
    • 80 A.O. Scott
    Stuffed with hard-working actors, sleek effects and stagy period details, The Prestige, directed by Christopher Nolan from a script he wrote with his brother Jonathan, is an intricate and elaborate machine designed for the simple purpose of diversion.
    • 77 Metascore
    • 80 A.O. Scott
    This terrifically smart and solid piece of filmmaking lets the former Weathermen, now in their 50's and older, speak into the camera and reveal a bit of their personal histories as well as what the peace movement meant to them.
    • 84 Metascore
    • 80 A.O. Scott
    Curiously exhilarating. Some of this comes from the simple thrill of witnessing something, or rather everything, done well.
    • 70 Metascore
    • 80 A.O. Scott
    Occasionally becomes pretentious and shrill -- sometimes Mr. Wright isn't aware that his material is so good that he doesn't need to comment on his characters.
    • 74 Metascore
    • 80 A.O. Scott
    There is something remarkable - you might even say miraculous - about the way Higher Ground makes its gentle, thoughtful way across the burned-over terrain of the American culture wars.
    • 82 Metascore
    • 80 A.O. Scott
    Mr. Chabrol's droll assault on petit-bourgeois security feels like a satire of "Ordinary People" directed by Alfred Hitchcock.
    • 82 Metascore
    • 80 A.O. Scott
    It is a chronicle of courage and sacrifice, of danger and solidarity, of heroism and futility, told with power, grace and feeling and brought alive by first-rate acting. A damn good war movie.
    • 81 Metascore
    • 80 A.O. Scott
    So much in this meticulous and moving film is between the lines, and almost nothing is by the book.
    • tbd Metascore
    • 80 A.O. Scott
    Heartbreaking and thought-provoking, Mille Soleils traces connections between Senegal’s past and present, and reflects on a cinematic legacy that remains insufficiently appreciated, in the West and perhaps also in Africa.
    • 74 Metascore
    • 80 A.O. Scott
    The Time That Remains has the scope of a historical epic with none of the expected heaviness.
    • 65 Metascore
    • 80 A.O. Scott
    A spool of arresting, beautifully composed shots without narration or dialogue, Samsara is an invitation to watch closely and to suspend interpretation (another notion Sontag might have approved).
    • 65 Metascore
    • 80 A.O. Scott
    A thoroughly modern confection, blending insouciance and sophistication, heartfelt longing and self-conscious posing with the guileless self-assurance of a great pop song. What to do for pleasure? Go see this movie, for starters.
    • 76 Metascore
    • 80 A.O. Scott
    A loving, freewheeling new documentary by James D. Cooper, tells this origin story with panache and nostalgia.
    • 72 Metascore
    • 80 A.O. Scott
    Schlöndorff calls the film "a ballad inspired by true events," and its occasional bouts of clumsiness and sentimentality are inseparable from its power.
    • 63 Metascore
    • 80 A.O. Scott
    Not quite a biopic, not really a documentary and only loosely an adaptation, Howl does something that sounds simple until you consider how rarely it occurs in films of any kind. It takes a familiar, celebrated piece of writing and makes it come alive.
    • 84 Metascore
    • 80 A.O. Scott
    The mystery of Séraphine de Senlis -- who died in a mental hospital in 1942 and whose work survives in some of the world’s leading museums -- is left intact at the end of Séraphine. Rather than trying to explain Séraphine, the film accepts her.
    • 75 Metascore
    • 80 A.O. Scott
    It is one of the most engaging, morally unsettling political thrillers in quite some time, with the extra advantage of being true.
    • 75 Metascore
    • 80 A.O. Scott
    Sensitive, modest, thrillingly self-assured first feature by So Yong Kim, was one of the standouts of the 2006 Sundance Film Festival -- exactly the kind of thoughtful, independent work one hopes to find there and too rarely does.
    • 63 Metascore
    • 80 A.O. Scott
    When Suddenly finds its soul in the last half-hour, the title begins to make a lovely sort of sense.
    • 84 Metascore
    • 80 A.O. Scott
    From 300 hours of material, Mr. Longley has created a collage of images, sounds and characters, an intimate, partial portrait of an unraveling nation -- a portrait that gains power partly by virtue of its incompleteness.
    • 69 Metascore
    • 80 A.O. Scott
    The thicket of relationships that the director, Hiner Saleem, has created and weaves his cast and camera through is so invitingly hotblooded and crowded with hilariously melodramatic incident that the snowbanks are not nearly as forbidding as they initially seem.
    • 85 Metascore
    • 80 A.O. Scott
    Mr. Coogler, with a ground-level, hand-held shooting style that sometimes evokes the spiritually alert naturalism of Jean-Pierre and Luc Dardenne, has enough faith in his actors and in the intrinsic interest of the characters’ lives to keep overt sentimentality and messagemongering to a minimum.
    • 66 Metascore
    • 80 A.O. Scott
    Frequently brilliant, finally baffling film.

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