For 1,736 reviews, this critic has graded:
  • 50% higher than the average critic
  • 2% same as the average critic
  • 48% lower than the average critic
On average, this critic grades 1.7 points higher than other critics. (0-100 point scale)

A.O. Scott's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Particle Fever
Lowest review score: 0 The Love Guru
Score distribution:
1736 movie reviews
    • 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.
    • 87 Metascore
    • 100 A.O. Scott
    Fire at Sea occupies your consciousness like a nightmare, and yet somehow you don’t want it to end.
    • 89 Metascore
    • 100 A.O. Scott
    It’s a psychological thriller, a strangely dry-eyed melodrama, a kinky sex farce and, perhaps most provocatively, a savage comedy of bourgeois manners. Mostly, though — inarguably, I would say — it is a platform for the astonishing, almost terrifying talent of Isabelle Huppert.
    • 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.
    • 85 Metascore
    • 100 A.O. Scott
    With exquisite patience and attention to detail, Asghar Farhadi, the writer and director, builds a solid and suspenseful plot out of ordinary incidents, and packs it with rich and resonant ideas.
    • 82 Metascore
    • 100 A.O. Scott
    Steve Jobs is a rich and potent document of the times, an expression of both the awe that attends sophisticated new consumer goods and the unease that trails in the wake of their arrival.... Mostly, though, it is a formally audacious, intellectually energized entertainment, a powerful challenge to the lazy conventions of Hollywood storytelling and a feast for connoisseurs of contemporary screen acting.
    • 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.
    • 95 Metascore
    • 100 A.O. Scott
    At once ardent and analytical, cerebral and swooning, Carol is a study in human magnetism, in the physics and optics of eros. With sparse dialogue and restrained drama, the film is a symphony of angles and glances, of colors and shadows.
    • 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.

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