For 1,381 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 Talk to Her
Lowest review score: 0 MacGruber
Score distribution:
1,381 movie reviews
    • 60 Metascore
    • 70 A.O. Scott
    9
    Every effort to expand the range of feature-length animation beyond the confines of cautious family fare is to be welcomed, and budding techno and fantasy geeks are likely to be intrigued and enthralled.
    • 52 Metascore
    • 70 A.O. Scott
    It parades neither the egghead aspirations of "Star Trek" nor the thick-skulled pretensions of "X-Men Origins: Wolverine," but instead feels both comfortable with its limitations and justly proud of its accomplishments.
    • 82 Metascore
    • 70 A.O. Scott
    The brutality in the film is pervasive and often stomach turningly graphic, but what is perhaps most unnerving is the tact, patience and care with which Mr. McQueen depicts its causes and effects.
    • 47 Metascore
    • 70 A.O. Scott
    The movie deserves -- and is likely to win -- a devoted cult following, despite its flaws.
    • 73 Metascore
    • 70 A.O. Scott
    Unfortunately, it is also less than the sum of its parts -- overly long, lacking in narrative momentum and too often choosing sensation over coherence.
    • 84 Metascore
    • 70 A.O. Scott
    The characters and situations are interesting enough, and the filmmaking is sufficiently skilled to provide a measure of reasonably thoughtful entertainment.
    • 82 Metascore
    • 70 A.O. Scott
    Mr. Reiner and Mr. Kudlow may not quite merit full-metal glory, but they don't deserve oblivion either, and Anvil! The Story of Anvil makes both a case and a place for their band.
    • 74 Metascore
    • 70 A.O. Scott
    The flaws in Two Lovers are inseparable from its strengths. You could, I suppose, criticize the movie for being too sincere; too generous to its imperfect, self-deluded characters; too absorbed in their small crises and disproportionate reactions. But that criticism might sound a lot like praise.
    • 64 Metascore
    • 70 A.O. Scott
    Che
    Mr. Soderbergh once again offers a master class in filmmaking. As history, though, Che is finally not epic but romance. It takes great care to be true to the factual record, but it is, nonetheless, a fairy tale.
    • 65 Metascore
    • 70 A.O. Scott
    The blossoming of her ambition, as much as her love life, drives the story forward, and turns Coco Before Chanel into a costume drama worthy of the name.
    • 66 Metascore
    • 70 A.O. Scott
    When the turmoil of the last 12 months has receded and the 10th-anniversary deluxe collectors edition comes around, this strange, numb cinematic experience may seem fresh, shocking and poignant rather than merely and depressingly true.
    • 64 Metascore
    • 70 A.O. Scott
    One of the best-known cultural figures of the past half-century, leaves the movie with little to do but add its sometimes sanctimonious voice to the chorus of praise and admiration.
    • 70 Metascore
    • 70 A.O. Scott
    So while The Science of Sleep may not, in the end, be terribly deep, it is undoubtedly -- and deeply -- refreshing.
    • 52 Metascore
    • 70 A.O. Scott
    Ms. Bening's precise, pitiless tracing of her character's decline from feisty defiance to pathetic, overmedicated self-delusion gives the film an emotional weight it might not otherwise have.
    • 69 Metascore
    • 70 A.O. Scott
    There is plenty of substance in Absolute Wilson, as it provides a concise and absorbing portrait of a powerful creative personality.
    • 67 Metascore
    • 70 A.O. Scott
    While Stranger Than Fiction traffics in a bit of darkly funny existential anxiety, it also finds room for romantic fantasy and sentimental uplift.
    • 58 Metascore
    • 70 A.O. Scott
    Is this evidence of cultural decline? It's hard to think of a short answer that wouldn't be made more vivid by the insertion of the forbidden word. So skip it. No, not the movie. What, are you kidding me? No way. Go. Help yourself.
    • 52 Metascore
    • 70 A.O. Scott
    At its best, The Nativity Story shares with "Hail Mary" an interest in finding a kernel of realism in the old story of a pregnant teenager in hard times. Buried in the pageantry, in other words, is an interesting movie.
    • 54 Metascore
    • 70 A.O. Scott
    This is a picture with nothing to prove, and not all that much to say, but its modesty and good humor make it hard to resist.
    • 64 Metascore
    • 70 A.O. Scott
    As ever, Mr. Chabrol’s style is delicate and precise. Comedy of Power is not his deepest or most ambitious film, and its stance of knowing resignation in the face of corruption can feel a little glib. But Ms. Huppert's ferocity compensates for the director's detachment; no French actress is as riveting to watch once the gloves come off.
    • 69 Metascore
    • 70 A.O. Scott
    The intoxicating madness of Tears of the Black Tiger is in the end too willed, too deliberate, to be entirely divine.
    • 55 Metascore
    • 70 A.O. Scott
    The opening shots, of Farmer on horseback in his space suit, hint at a strangeness that the rest of the movie never quite lives up to, but it does have a visual freshness that makes the bromides and clichés palatable.
    • 54 Metascore
    • 70 A.O. Scott
    One of Mr. Brisseau's subjects is the volatility of desire, the way the path of erotic curiosity can swerve from satisfaction into recrimination and confusion. A porno-philosopher in the venerable French tradition, he blends a frank appeal to the audience's nether regions with some teasing attention to its mind.
    • 49 Metascore
    • 70 A.O. Scott
    Mr. Rock has not only done his best work as a director and screenwriter but has also made an unusually insightful and funny mainstream American movie about the predicaments of modern marriage.
    • 77 Metascore
    • 70 A.O. Scott
    The obsessive crosshatching of allusion, spoof and homage that gives Grindhouse its texture is the product of a highly refined generational sensibility.
    • 73 Metascore
    • 70 A.O. Scott
    In the arresting Red Road, the dire Orwellian warning that Big Brother is watching has evolved from a grim fantasy of totalitarianism into a banal fact of life.
    • 65 Metascore
    • 70 A.O. Scott
    At times The TV Set seems to unfold almost entirely without exaggeration.
    • 62 Metascore
    • 70 A.O. Scott
    There are no big surprises, but the jumps and jolts are well timed and the overall mood is at once grisly and good-natured -- more diverting than disturbing.
    • 65 Metascore
    • 70 A.O. Scott
    The real flaw is that the movie's best features -- the aching clarity of its central performances -- threaten to be lost in a wilderness of metaphor and mystification.
    • 75 Metascore
    • 70 A.O. Scott
    As a group portrait of apprentice intellectuals the film has an almost documentary accuracy. It also has a degree of energy, an appetite for strong feelings and big ideas, notably missing in American movies about the young and overeducated, which tend to specialize in mumbled ironies and tiny epiphanies.