For 1,544 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 2.6 points higher than other critics. (0-100 point scale)

A.O. Scott's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 127 Hours
Lowest review score: 0 The Love Guru
Score distribution:
1,544 movie reviews
    • 95 Metascore
    • 80 A.O. Scott
    It is a rigorously honest movie about the difficulties of being honest, a film that tries to be truthful about the slipperiness of truth.
    • 77 Metascore
    • 80 A.O. Scott
    A sneaky and smart film noir.
    • 65 Metascore
    • 80 A.O. Scott
    Ms. Hamilton tells a modest, complex story with admirable clarity and nuance. That her film is so quiet, so evidently invested in contemplation rather than confrontation, gives it power as well as insight.
    • 76 Metascore
    • 80 A.O. Scott
    Bobby Fischer Against the World does not traffic in easy explanations or medical diagnoses, but it leaves the strong impression of a continuity between the oddness Fischer displayed in early interviews and the mania so jarringly evident toward the end.
    • 74 Metascore
    • 80 A.O. Scott
    The sheer heterogeneity of human experience is one of his (Morris) enduring preoccupations, and he has found, once again, an impossible and perfect embodiment of just how curious our species can be.
    • 78 Metascore
    • 80 A.O. Scott
    This minimalist film is slightly hobbled by its minimal plot; it's the crucial difference between a movie with moments of greatness and a great movie.
    • 81 Metascore
    • 80 A.O. Scott
    On one level, the film (or nonfilm; it was shot on digital video and partly with smartphone cameras) is a mischievous, Pirandellian entertainment. It is also an allegory, dark but not despairing, of the creative spirit under political pressure, and of the ways the imagination can be both a refuge and a place of confinement.
    • 70 Metascore
    • 80 A.O. Scott
    For rock geeks of any age or taste, the lore in this documentary will be catnip.
    • 74 Metascore
    • 80 A.O. Scott
    It is comfortable with itself and confident in its ability to amuse and beguile young viewers.
    • 51 Metascore
    • 80 A.O. Scott
    The kind of old-fashioned, grown-up weepie in which the hearts of men and women are cracked, and the shards flutter through the story. Its directness is the movie equivalent of hot, fresh popcorn.
    • 75 Metascore
    • 80 A.O. Scott
    Jar City is chilly and cerebral but also morbidly and powerfully alive to grossness and physicality.
    • 79 Metascore
    • 80 A.O. Scott
    A revelation comes near the end that is both tremendously moving and a bit disappointing, in the way that the solutions to great mysteries frequently are. This turn does not diminish the accomplishment of Ms. Scott Thomas's deep, subtle and altogether stunning performance, but it does alter the scale of the movie, turning it into a more manageable, less existentially unsettling drama.
    • 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.
    • 72 Metascore
    • 80 A.O. Scott
    A tour de force of archival research and dogged interviewing, and the portrait it presents is remarkably complete.
    • 70 Metascore
    • 80 A.O. Scott
    The narrative motion is tricky; first it canters, then shifts into a heady, quick gallop. What's most fascinating about Adanggaman are the scenes that feel like anecdotal rest stops but that are actually building into a nuanced and engrossing whole.
    • 63 Metascore
    • 80 A.O. Scott
    Amigo is a well-carpentered narrative, fast-moving and emphatic, stepping nimbly from gravity to good humor.
    • 75 Metascore
    • 80 A.O. Scott
    The proto-punk warriors known as the MC5 left a dent that outlasts their mostly negligible record sales, and the director's curiosity is piqued by the group's sociological impact.
    • 72 Metascore
    • 80 A.O. Scott
    What lifts Terri above its peers is not the plight of its protagonist or the film's sympathy for him, but rather the care and craft that the director, Azazel Jacobs, has brought to fairly conventional material.
    • 73 Metascore
    • 80 A.O. Scott
    Don’t be fooled by Mr. Broadbent’s genial sarcasm, Ms. Duncan’s warm smile or the literary felicities of Mr. Kureishi’s script. This is not a movie about the gentle aging of lovable codgers.
    • 82 Metascore
    • 80 A.O. Scott
    Since the movie is about desire -- not so much for sex as for the vitality and surprise that sex can provide -- it is also about power. Few writers can match Mr. Kureishi's knowing wit on this subject, or his skill at dissecting the shifting dynamics of longing and domination.
    • 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.
    • 68 Metascore
    • 80 A.O. Scott
    The point of it is not, in the end, to explain him or solve the mystery of his life, but rather to spend time in his company and understand why he is someone to be missed.
    • 75 Metascore
    • 80 A.O. Scott
    Mr. Rithy Panh makes telling use of a survivor whose ability to communicate lends itself to the subject. The tragedy is that Mr. Vann Nath's powers are used to illuminate these horrors.
    • 84 Metascore
    • 80 A.O. Scott
    Suzy's marriage, Nick's divorce, Paul's work history: none of it is my or anyone else's business. But these things -- these people -- have become, through Mr. Apted's films, a vital part of modern life, which seems to grow richer every seven years, when the new "Up" movie comes out.
    • 50 Metascore
    • 80 A.O. Scott
    The end may be a bit of a letdown, but much of Garage Days is choice cuts indeed.
    • 67 Metascore
    • 80 A.O. Scott
    What Mr. Mitchell gets splendidly right in this quiet, observant film, is the unsteady mixture of sophistication and naïveté that is central to the modern American teenage way of being in the world.
    • 63 Metascore
    • 80 A.O. Scott
    Jacobs, the great 20th-century philosopher-evangelist of urban life, would surely recognize this retired restaurant cook, a resident of the Lower Ninth Ward in New Orleans and the subject of Jonathan Demme's marvelous new documentary, as an indispensable "public character."
    • 84 Metascore
    • 80 A.O. Scott
    Maddin's real point -- and, for admirers of this brilliant and idiosyncratic artist, the true source of the movie’s interest -- is that Winnipeg explains him.
    • 83 Metascore
    • 80 A.O. Scott
    A film in which nothing is what it seems, this is the kind of genre touch that Mr. González Iñárritu expands into something far more haunting.
    • 75 Metascore
    • 80 A.O. Scott
    Witty but not campy, grand without being unduly somber, it is a crazy, almost-coherent riot of intrigue, color and kineticism anchored by the charisma of its cast.

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