For 1,415 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 2.8 points higher than other critics. (0-100 point scale)

A.O. Scott's Scores

  • Movies
Average review score: 62
Highest review score: 100 The Kids Are All Right
Lowest review score: 0 The Love Guru
Score distribution:
1,415 movie reviews
    • 65 Metascore
    • 80 A.O. Scott
    Ali
    We see the movie levitate when Ali and Brown chant, "Float like a butterfly," the slogan that takes on a different meaning in each context, starting off as hopeful and spry, finally becoming rueful and pointed. When the film pulls off moments like these, it's breathtaking -- a near great movie.
    • 56 Metascore
    • 80 A.O. Scott
    Funny and brisk, with enough good lines to make the comedy more satisfying than the somewhat routine but still unsettling jolts to the spine.
    • 50 Metascore
    • 80 A.O. Scott
    The end may be a bit of a letdown, but much of Garage Days is choice cuts indeed.
    • 49 Metascore
    • 80 A.O. Scott
    May feel redundant, but it is stylish and intelligent.
    • 66 Metascore
    • 80 A.O. Scott
    The believability comes from the casting: he has found a group of actors and nonprofessionals who interact spectacularly well.
    • 74 Metascore
    • 80 A.O. Scott
    Soderbergh rallies a seismic jolt of enthusiasm, and the movie is an elating blaze of flair and pride.
    • 79 Metascore
    • 80 A.O. Scott
    Wickedly absorbing.
    • 75 Metascore
    • 80 A.O. Scott
    His painstakingly coordinated scenes and exquisitely timed takes are the filmmaking equivalent of wringing every single use from a paper towel and then folding it before disposal.
    • 70 Metascore
    • 80 A.O. Scott
    Takes all the Christmas season's bad vibes and converts them into an achingly funny and corrupt dark comedy.
    • 64 Metascore
    • 80 A.O. Scott
    So assured in its manipulative prowess that only afterward do you realize how fully you've been worked over.
    • 72 Metascore
    • 80 A.O. Scott
    Mr. del Toro lets loose with an all-American, vaudevillian rambunctiousness that makes the movie daffy, loose and lovable.
    • 82 Metascore
    • 80 A.O. Scott
    Mr. Yamada is confident that by taking his time and relishing the leathery arrogance that is the perquisite of a director in his 70's, his audience will follow his whims.
    • 56 Metascore
    • 80 A.O. Scott
    The film collects a cast of performers who know how to be funny. The success of this movie, following a formula upheld by just about any recent hit comedy you can name, lies as much with supporting players and plot-derailing set pieces as with the central story and characters.
    • 85 Metascore
    • 80 A.O. Scott
    The picture itself is about, yes, cycles, and as tiresome as that sounds, 10 minutes into the film you'll be white-knuckled and unable to look away.
    • 67 Metascore
    • 80 A.O. Scott
    Babylon is about architecture as a balm, and this is a particularly good time for such a film.
    • 77 Metascore
    • 80 A.O. Scott
    Best and most touching when it shows how willing punk is to eat its young.
    • 77 Metascore
    • 80 A.O. Scott
    Mr. Block has put his parents’ life, and his own, into this film with such warmth and candor that it may take more than one viewing to recognize it as a work of art.
    • 78 Metascore
    • 80 A.O. Scott
    Mr. Tsai's films are held together internally, and connected one to another, by an elusive, insistent logic that is easier to recognize than to describe. But once you do start to recognize it, each new movie offers passage to an exotic place that feels, uncannily, like home.
    • 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.
    • 75 Metascore
    • 80 A.O. Scott
    Jar City is chilly and cerebral but also morbidly and powerfully alive to grossness and physicality.
    • 76 Metascore
    • 80 A.O. Scott
    The brilliance of Stuff and Dough is that it wraps this powerful, disturbing drama in an anecdote from ordinary life. As is often the case in recent Romanian movies, the acting is so accomplished as to be invisible.
    • 54 Metascore
    • 80 A.O. Scott
    In the hands of a more literal-minded filmmaker The Tracey Fragments might well have been dreary and unbearable, a chronicle of florid self-pity justified by arbitrary cruelty. Instead it is fierce, enigmatic and affecting.
    • 72 Metascore
    • 80 A.O. Scott
    Nearly every melodramatic impulse has been suppressed in favor of a calm precision that serves both to intensify and delay the emotional impact of the film’s climactic disclosures.
    • 77 Metascore
    • 80 A.O. Scott
    It is an engrossing portrait all the same, a generous introduction to someone worth knowing, who knows an awful lot.
    • 74 Metascore
    • 80 A.O. Scott
    He (Lenny) is completely appalling, and also completely himself, a kind of mad, disturbing integrity that is both matched and mitigated by the honesty of this lovely, hair-raising film.
    • 76 Metascore
    • 80 A.O. Scott
    The extent of the need around the world is so enormous and overwhelming that the efforts of the doctors in this sobering film seem both vitally necessary and woefully inadequate.
    • tbd Metascore
    • 80 A.O. Scott
    What makes Le Amiche so bracing -- so sad and, sometimes, so funny -- is that its heroines are fallible, flawed, vain and powerful, each in her own way. They often make one another miserable, but their company is always a pleasure.
    • 77 Metascore
    • 80 A.O. Scott
    Though the story sometimes wanders into hazy, corny sentiment, its protagonist (called Felix Bush, which was apparently a nickname or alias of Breazeale's) is vivid, enigmatic and unpredictable.
    • 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.
    • 72 Metascore
    • 80 A.O. Scott
    A tour de force of archival research and dogged interviewing, and the portrait it presents is remarkably complete.