For 1,488 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 3 points higher than other critics. (0-100 point scale)

A.O. Scott's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Duplicity
Lowest review score: 0 Seven Pounds
Score distribution:
1,488 movie reviews
    • 67 Metascore
    • 80 A.O. Scott
    Babylon is about architecture as a balm, and this is a particularly good time for such a film.
    • 73 Metascore
    • 80 A.O. Scott
    Though the film’s structure may be tragic, its spirit is anything but.
    • 72 Metascore
    • 80 A.O. Scott
    Enchanting and diverting documentary.
    • 74 Metascore
    • 80 A.O. Scott
    The reason it deserves to be seen in a theater with special glasses on, rather than slapped on the DVD player when the children are acting up -- lies in those airborne sequences.
    • 75 Metascore
    • 80 A.O. Scott
    This means that the violations chronicled in The Invisible War are compounded by a deep and terrible betrayal, which ripples outward from the various branches of the service into the society as a whole. This is not a movie that can be ignored.
    • 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.
    • 67 Metascore
    • 80 A.O. Scott
    The point of this thoughtful, moving film is that the motives and actions that define human ethics are never simple and that the Communist regime was especially adept at exploiting this complexity for its own ends.
    • 71 Metascore
    • 80 A.O. Scott
    This is one of the best-photographed pictures of the year, but not ostentatiously so; the look is organic to the less-than-glamorous badlands of Sunnyside, Queens.
    • 90 Metascore
    • 80 A.O. Scott
    There's as much at stake in the hilarious, moody and cantankerous film adaptation of "Splendor" as there was in this summer's other movies of comic-book antiheroes like "The Hulk" and "The League of Extraordinary Gentlemen."
    • 73 Metascore
    • 80 A.O. Scott
    By the end, Mr. To has proven himself to be a genre hack of uncommon intelligence and soul: a first-rate entertainer who can thrill you into thinking.
    • 67 Metascore
    • 80 A.O. Scott
    The Darjeeling Limited amounts finally to a high-end, high-toned tourist adventure. I don’t mean this dismissively; it would be hypocritical of me to deny the delights of luxury travel to faraway lands. And Mr. Anderson’s eye for local color — the red-orange-yellow end of the spectrum in particular — is meticulous and admiring.
    • 68 Metascore
    • 80 A.O. Scott
    Queen and Country doesn’t quite have the bittersweet intensity of its precursor. The terrible magic of the war is missing, and so is the heightened, wide-eyed perceptiveness of the child protagonist.
    • 78 Metascore
    • 80 A.O. Scott
    Mr. del Toro provokes your screams and shudders, but he also earns your tears.
    • 75 Metascore
    • 80 A.O. Scott
    Part feminist fable, part romantic fairy tale, it is by turns tart and sweet, charming and tough, rather like its heroine and like Keri Russell, the plucky, pretty, nimble actress who plays her.
    • 66 Metascore
    • 80 A.O. Scott
    Julie & Julia proceeds with such ease and charm that its audacity -- is easy to miss.
    • 76 Metascore
    • 80 A.O. Scott
    Intensely appealing.
    • 65 Metascore
    • 80 A.O. Scott
    Fittingly enough, given that his great subject has always been himself, it is Mr. Roth who dominates the screen...He is, for 90 minutes, marvelous company — expansive, funny, generous and candid.
    • 65 Metascore
    • 80 A.O. Scott
    It is a curious hybrid of documentary and experimental theater. It is also one of the most terrifying movies I have ever seen.
    • 81 Metascore
    • 80 A.O. Scott
    Leviathan, a product of the Sensory Ethnography Lab at Harvard, offers not information but immersion: 90 minutes of wind, water, grinding machinery and piscine agony.
    • 67 Metascore
    • 80 A.O. Scott
    hough the picture is wrenching, at times devastating, it leaves you with that buoyant feeling of having encountered a raw, authentic work of art.
    • 82 Metascore
    • 80 A.O. Scott
    The mischievous paradox of Matías Piñeiro’s Viola is that it is at once devilishly complicated and perfectly simple.
    • 74 Metascore
    • 80 A.O. Scott
    [Mr. Miller's] film shows the influence of other recent work in the American neo-neo-realist vein, notably Ramin Bahrani’s “Goodbye, Solo” and Lance Hammer’s “Ballast,” and like them relies on understatement and indirection to arrive at a powerful and resonant meaning.
    • 69 Metascore
    • 80 A.O. Scott
    Mr. Yaguchi's film is so brazenly cheerful and charmingly engineered that even the sourballs in the cast are sucked in.
    • 76 Metascore
    • 80 A.O. Scott
    More moving than shocking, it proceeds slowly and gracefully, and the few scenes of bloodshed are emotionally intense rather than showily sensational.
    • 82 Metascore
    • 80 A.O. Scott
    A stylized and sentimental fairy tale about the way the world might be, grounded in a frank recognition of the way it is.
    • 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.
    • 70 Metascore
    • 80 A.O. Scott
    Above all, The Curious Case of Benjamin Button is a triumph of technique.
    • 72 Metascore
    • 80 A.O. Scott
    An incisive drama about a waking nightmare.
    • 57 Metascore
    • 80 A.O. Scott
    A terrifically deft picture about the thick line that separates movie glamour from the real world, and the thin line between common sense and paranoia.
    • 81 Metascore
    • 80 A.O. Scott
    The buzz of The World’s End is more like an antic sugar high than a reeling, drunken stupor. There are no headaches, dry mouth or crushing shame at the end — no “Hangover,” in other words. I’ll drink to that.

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