For 1,506 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:
1,506 movie reviews
    • 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.
    • 58 Metascore
    • 80 A.O. Scott
    With Shanghai Knights, he (Chan) has come through with one of his best. This time, it's personable.
    • 70 Metascore
    • 80 A.O. Scott
    Narc is convincing, an entertaining, grimy view of the traps of machismo tucked inside a cop thriller.
    • 72 Metascore
    • 80 A.O. Scott
    A startlingly beautiful documentary by Bong-Nam Park that is also devastatingly sad.
    • 87 Metascore
    • 80 A.O. Scott
    In the end there is nothing especially campy about “The Duke of Burgundy,” which neither mocks its heroines nor the breathless, naughty screen tradition to which they belong. It’s a love story, and also a perversely sincere (and sincerely perverse) labor of love.
    • 72 Metascore
    • 80 A.O. Scott
    The achievement of this film is to forestall and complicate easy judgment. You emerge shaken and bothered, which may sound like a reason not to see the movie. It is actually the opposite.
    • 47 Metascore
    • 80 A.O. Scott
    Though finally overwhelmed by a preening lassitude, Hotel is never less than fascinating.
    • 76 Metascore
    • 80 A.O. Scott
    Happy Valley, even as it revisits past events, has a chilling timeliness.
    • 81 Metascore
    • 80 A.O. Scott
    Gimme the Loot has a lot to say about the contradictions of a place that is defined by both abundant opportunity and ferocious inequality. But the film makes its points in a lighthearted, street-smart vernacular, treating its protagonists not as embodiments of a social condition but rather as self-aware individuals who are, like teenagers everywhere, both smart and dumb.
    • 79 Metascore
    • 80 A.O. Scott
    Wickedly absorbing.
    • 75 Metascore
    • 80 A.O. Scott
    After Tiller is impressive because it honestly presents the views of supporters of legal abortion, and is thus a valuable contribution to a public argument that is unlikely to end anytime soon.
    • 78 Metascore
    • 80 A.O. Scott
    Mr. Bielinsky, in what would sadly be his last film, demonstrates a mastery of the form that is downright scary.
    • 82 Metascore
    • 80 A.O. Scott
    If recent American history is ever going to be discussed with the necessary clarity and ethical rigor, this film will be essential.
    • 76 Metascore
    • 80 A.O. Scott
    This is the kind of story, as Oliver himself would admit, that we have already seen dozens of times. But Mr. Ayoade's keen visual wit and clever, knowing touches keep it surprising and nimble, especially in the quick, lurching early scenes, which are startlingly funny.

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