For 1,434 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 2.7 points higher than other critics. (0-100 point scale)

A.O. Scott's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Fill the Void
Lowest review score: 0 Seven Pounds
Score distribution:
1,434 movie reviews
    • 75 Metascore
    • 80 A.O. Scott
    This movie may tire you out with its hammering, swaggering excess, but it is never less than wide-awake.
    • 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.
    • 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.
    • 83 Metascore
    • 80 A.O. Scott
    The on-camera absence of its subject and its overall indifference to matters of biography make Sol LeWitt a welcome departure from most documentaries about artists, as well as a fitting and serious tribute to his art.
    • 73 Metascore
    • 80 A.O. Scott
    Mr. Johnsen offers viewers the challenge and pleasure of an important artist’s company, and a chance to appreciate anew his wisdom, his wit and his bravery.
    • 75 Metascore
    • 80 A.O. Scott
    It’s both funny and serious without trying too hard to be either, and by trying above all to be honest.
    • 69 Metascore
    • 80 A.O. Scott
    What is beyond dispute is the sheer exuberant virtuosity Ms. Seigner and Mr. Amalric bring to the material.
    • 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.
    • 75 Metascore
    • 80 A.O. Scott
    Mr. Abrahamson’s main achievement, enabled by the sensitive and resourceful cast, is to find a tone that is funny without flippancy, sincere without turning to mush.
    • 66 Metascore
    • 80 A.O. Scott
    Mr. Garrel’s method goes beyond realism to achieve a kind of psychological intimacy that is rare and, in its low-key, meandering way, tremendously exciting.
    • 87 Metascore
    • 80 A.O. Scott
    Its themes are a bit nostalgic and some of its technology looks dated, but there is nothing else in theaters now that feels quite as new.
    • 61 Metascore
    • 80 A.O. Scott
    At times, Mr. Harris’s voice-over narration veers into academic abstraction or lyrical emotionalism in ways that undercut the eloquence of the images, but over all he is a wise and passionate guide to an inexhaustibly fascinating subject.
    • 74 Metascore
    • 80 A.O. Scott
    Its scenes, quiet and undramatic, are nonetheless suffused with an almost lyrical intensity, and its sympathy is as limitless as its curiosity.
    • 63 Metascore
    • 80 A.O. Scott
    While The Boxtrolls does follow kiddie-action genre conventions in its big, noisy climax — a hectic brawl of explosions, collisions and oversize machines — it also finds an impressive number of quiet, eccentric and haunting moments along the way.
    • 69 Metascore
    • 70 A.O. Scott
    If Intimacy does anything well, it portrays desperation, in many different forms.
    • 54 Metascore
    • 70 A.O. Scott
    The film's seductive lack of pretension will make a fan of you.
    • 53 Metascore
    • 70 A.O. Scott
    Mostly it's exhilarating.
    • 70 Metascore
    • 70 A.O. Scott
    Can't redeem the moves toward its predictable happy ending. But the movie has a protagonist who has a great time getting there.
    • 69 Metascore
    • 70 A.O. Scott
    It's more of a mash note than a formal documentary, and there's nothing wrong with that.
    • 73 Metascore
    • 70 A.O. Scott
    Wants to blend thrills and pathos, getting at the many sides of what is, as Mr. Blaustein describes it, a carny act.
    • 57 Metascore
    • 70 A.O. Scott
    There must be a name for a picture so inconsequential, in which the music provides so much of the chemistry that you get the feeling Bossa Nova would be funereal without it.
    • 65 Metascore
    • 70 A.O. Scott
    Willem Dafoe steals the picture with his comic timing.
    • 70 Metascore
    • 70 A.O. Scott
    The blithe cruelties of outdoor living mount up, but the filmmakers refuse to exaggerate or sensationalize their material.
    • 62 Metascore
    • 70 A.O. Scott
    Though Mr. Favreau probably had to co-star in Made to make his exposé of the loser's mushy pink underbelly of "Swingers" register, he might have come up with a better picture if he had stayed behind the camera. But he's willing to take chances, and he'll learn from this movie.
    • 79 Metascore
    • 70 A.O. Scott
    The extravagance of the sets and costumes increases the theatricality; Chunhyang is an almost childlike delight for the eyes.
    • 52 Metascore
    • 70 A.O. Scott
    Because of the movie's wonderful shamelessness, its mordantly funny chills and fights are huge turn-ons. A B picture in love with the zest of its comic-book origins, it embodies that medium's pulse-pounding spiritedness and silliness.
    • tbd Metascore
    • 70 A.O. Scott
    Has a lovely, unadorned, though distended sentimentality.
    • 66 Metascore
    • 70 A.O. Scott
    An inviting piece of film. Mr. Rubbo's cast of characters have the charisma of true devotees and stoked egos that match their intentions.
    • 47 Metascore
    • 70 A.O. Scott
    Mr. Kitano directed, edited and wrote Brother -- and his style of close-to-the-vest brutality travels extremely well.
    • 63 Metascore
    • 70 A.O. Scott
    Perhaps it's the difference in culture, but the thoughtfulness in Smell of Camphor, Fragrance of Jasmine shows that its creator isn't letting himself or his audience off the hook.