For 1,519 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 Sugar
Lowest review score: 0 MacGruber
Score distribution:
1,519 movie reviews
    • 85 Metascore
    • 100 A.O. Scott
    "Print the legend," Mr. Wilson says at one point, both quoting John Ford and laying the foundation for his own often fact-free fabulous fabulism. And this movie is just that -- fabulous.
    • 94 Metascore
    • 100 A.O. Scott
    Mr. Turner is a mighty work of critical imagination, a loving, unsentimental portrait of a rare creative soul. But even as it celebrates a glorious painter and illuminates the sources of his pictures with startling clarity and insight, the movie patiently and thoroughly demolishes more than a century’s worth of mythology about what art is and how artists work.
    • 83 Metascore
    • 100 A.O. Scott
    An entire family chronicle, along with four decades of French social and economic history, is recapitulated as a lavish, hectic dinner, complete with music and belly dancing. It will leave you stunned and sated, having savored an intimate and sumptuous epic of elation and defeat, jealousy and tenderness, life and death, grain and fish.
    • 79 Metascore
    • 100 A.O. Scott
    Even as Mr. Mungiu maintains a detached, objective point of view, allowing the details of the story to speak for themselves, he also allows you to glimpse the complex and volatile inner lives of his characters.
    • 89 Metascore
    • 100 A.O. Scott
    Here he (Murray) supplies the kind of performance that seems so fully realized and effortless that it can easily be mistaken for not acting at all.
    • 90 Metascore
    • 100 A.O. Scott
    How did Mr. Panahi do this? I'm at a bit of a loss to explain, to tell you the truth, since my job is to review movies, and this, obviously, is something different: a masterpiece in a form that does not yet exist.
    • 79 Metascore
    • 100 A.O. Scott
    Ms. Bell, who plays Carol with a perfect blend of diffidence, goofiness and charm, has written and directed an insightful comedy that is much more complex and ambitious than it sometimes seems.
    • 82 Metascore
    • 100 A.O. Scott
    By the time the movie is over, you feel as if the people in it were friends you know well enough to tire of, and to miss terribly when they go away.
    • 88 Metascore
    • 100 A.O. Scott
    Inside Job, a sleek, briskly paced film whose title suggests a heist movie, is the story of a crime without punishment, of an outrage that has so far largely escaped legal sanction and societal stigma.
    • 74 Metascore
    • 100 A.O. Scott
    Everything depends on the subtlety of the direction and the charisma of the performances. Augustine is intellectually satisfying partly because it communicates its ideas at the level of feeling, through the uncanny power of Soko’s face and body.
    • 82 Metascore
    • 100 A.O. Scott
    With its swift, jaunty rhythms and sharp, off-kilter jokes, Frances Ha is frequently delightful. Ms. Gerwig and Mr. Baumbach are nonetheless defiant partisans in the revolt against the tyranny of likability in popular culture.
    • 84 Metascore
    • 100 A.O. Scott
    Harvey Milk was an intriguing, inspiring figure. Milk is a marvel.
    • 91 Metascore
    • 100 A.O. Scott
    That it is more -- a small masterpiece, perfect in design and execution -- almost goes without saying, but the film’s profundity and its charm go hand in hand.
    • 74 Metascore
    • 100 A.O. Scott
    That the film manages to be understated, calm and intelligent in spite of its wrenching subject matter is perhaps its most impressive accomplishment. In avoiding sensationalism, it feels very close to the truth.
    • 83 Metascore
    • 100 A.O. Scott
    Mr. Heinzerling is an artist too. The window he has opened onto the lives of his subjects is a powerful and beautiful visual artifact in its own right.
    • 86 Metascore
    • 100 A.O. Scott
    It is a movie about the lure and folly of greatness that comes as close as anything I've seen recently to being a great movie. There will be skeptics, but the cult is already forming. Count me in.
    • 81 Metascore
    • 100 A.O. Scott
    The rare sports movie that deals with -- indeed positively relishes -- humiliation and disappointment.
    • 69 Metascore
    • 100 A.O. Scott
    Superior entertainment, the most elegantly pleasurable movie of its kind to come around in a very long time.
    • 94 Metascore
    • 100 A.O. Scott
    Before Midnight is a wonderful paradox: a movie passionately committed to the ideal of imperfection that is itself very close to perfect.
    • 98 Metascore
    • 100 A.O. Scott
    One of the most purely enjoyable films ever made.
    • 76 Metascore
    • 100 A.O. Scott
    Every shot — everything you see, and everything you don’t — imparts a disturbing and thrilling sense of discovery.
    • 89 Metascore
    • 100 A.O. Scott
    A few scenes serve as hinges joining this movie to "Flags of Our Fathers." While Letters From Iwo Jima seems to me the more accomplished of the two films -- by which I mean that it strikes me as close to perfect -- the two enrich each other, and together achieve an extraordinary completeness.
    • 84 Metascore
    • 100 A.O. Scott
    This movie is rigorously and intensely lifelike, which is to say that it’s also a strange and moving work of art.
    • 88 Metascore
    • 100 A.O. Scott
    Cinema, even in the service of journalism, is always more than reporting, and focusing on what Ms. Poitras’s film is about risks ignoring what it is. It’s a tense and frightening thriller that blends the brisk globe-trotting of the “Bourne” movies with the spooky, atmospheric effects of a Japanese horror film. And it is also a primal political fable for the digital age, a real-time tableau of the confrontation between the individual and the state.
    • 76 Metascore
    • 100 A.O. Scott
    A splendid example of how to tackle the daunting duty of turning a beloved work of classic literature into a movie. Neither a radical updating nor a stiff exercise in middlebrow cultural respectability, Mr. Fukunaga's film tells its venerable tale with lively vigor and an astute sense of emotional detail.
    • 82 Metascore
    • 100 A.O. Scott
    It is both sad and hopeful, but the film's sorrow and its optimism arise from its rarest and most thrilling quality, which is its deep and humane honesty.
    • 86 Metascore
    • 100 A.O. Scott
    It is outrageously funny without ever exaggerating for comic effect, and heartbreaking with only minimal melodramatic embellishment.
    • 98 Metascore
    • 100 A.O. Scott
    A swift and accessible entertainment, blunt in its power and exquisite in its effects.
    • 86 Metascore
    • 100 A.O. Scott
    Mr. Fan's documentary is informed by a melancholy humanism, and finds unexpected beauty in almost unbearably harsh circumstances. It tells the story of a family caught, and possibly crushed, between the past and the future - a story that, on its own, is moving, even heartbreaking. Multiplied by 130 million, it becomes a terrifying and sobering panorama of the present.
    • 82 Metascore
    • 100 A.O. Scott
    To put the matter perhaps more abstractly than such a sensual film deserves, it is about the fate of untameable, irrational desire in a world that does not seem to have a place for it.

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