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 Milk
Lowest review score: 0 Seven Pounds
Score distribution:
1,381 movie reviews
    • 78 Metascore
    • 90 A.O. Scott
    I hesitate, given the early date and the project's modesty, to call Into Great Silence one of the best films of the year. I prefer to think of it as the antidote to all of the others.
    • 82 Metascore
    • 90 A.O. Scott
    The history presented in The Wind That Shakes the Barley hardly feels like a closed book or a museum display. It is as alive and as troubling as anything on the evening news, though far more thoughtful and beautiful.
    • 80 Metascore
    • 90 A.O. Scott
    This Lady Chatterley, winner of five César awards in France, feels bracingly fresh, vital and modern.
    • 80 Metascore
    • 90 A.O. Scott
    The Simpsons Movie, in the end, is as good as an average episode of "The Simpsons." In other words, I’d be willing to watch it only -- excuse me while I crunch some numbers here -- 20 or 30 more times.
    • 82 Metascore
    • 90 A.O. Scott
    The rigor of Mr. Cronenberg’s direction sometimes seems at odds with the humanism of Mr. Knight’s script, but more often the director’s ruthless formal command rescues the story from its maudlin impulses. Mr. Knight aims earnestly for your heartstrings, but Mr. Cronenberg insists on getting under your skin. The result is a movie whose images and implications are likely to stay in your head for a long time.
    • 78 Metascore
    • 90 A.O. Scott
    You don’t have to know anything about Joy Division to grasp the mysterious sorrow at its heart.
    • 79 Metascore
    • 90 A.O. Scott
    The film is much more than a biography of the Clash’s guitarist and lead singer: It’s history, criticism, philosophy and politics, played fast and loud.
    • 73 Metascore
    • 90 A.O. Scott
    Among its many achievements, Todd Haynes’s I’m Not There hurls a Molotov cocktail through the facade of the Hollywood biopic factory.
    • 78 Metascore
    • 90 A.O. Scott
    What is so remarkable about Mr. Langella is that he seems to hold Leonard’s intellectual cosmos inside him, to make it implicit in the man’s every gesture and pause.
    • 69 Metascore
    • 90 A.O. Scott
    More of a hoot than any picture dealing with the bloody, protracted fight between the Soviet Army and the Afghan mujahedeen has any right to be.
    • 79 Metascore
    • 90 A.O. Scott
    The curious thing about The Visitor is that even as it goes more or less where you think it will, it still manages to surprise you along the way.
    • 74 Metascore
    • 90 A.O. Scott
    Mongol -- or, as I prefer to think of it, "Genghis Khan: The Early Years" -- is a big, ponderous epic, its beautifully composed landscape shots punctuated by thundering hooves and bloody, slow-motion battle sequences.
    • 73 Metascore
    • 90 A.O. Scott
    It is to Mr. Gibney’s great credit that while he pays due attention to the outsize, cartoonish celebrity persona Thompson fell back on when his literary powers began to wane, this film concentrates on the bold, innovative journalism that secured Thompson’s reputation and assures his immortality.
    • 79 Metascore
    • 90 A.O. Scott
    May not advance any grand new thesis about the South and its history, but it turns an old house into a rich and strange repository of local knowledge.
    • 65 Metascore
    • 90 A.O. Scott
    This movie is crowded and sprawling, and if it rambles sometimes, that's just fine. Like those big, boxy Caddies (and like Howlin’ Wolf, if he did say so himself), it's built for comfort, not for speed. It hums, it purrs and it roars.
    • 80 Metascore
    • 90 A.O. Scott
    What will happen to her? The strength of this short, simple, perfect story of a young woman and her dog is that this does not seem, by the end, to be an idle or trivial question. What happens to Wendy -- and to Lucy -- matters a lot, which is to say that Wendy and Lucy, for all its modesty, matters a lot too.
    • 81 Metascore
    • 90 A.O. Scott
    It is a deeply personal piece of art that never descends into the confessional or the therapeutic, and a work of social and literary criticism that never lectures or hectors, but rather, with melancholy, tenderness and wit, manages to sing.
    • 63 Metascore
    • 90 A.O. Scott
    There are no simple answers or obvious conclusions to be gleaned from this movie, which, like its soundtrack, is both sad and vibrant, meandering and formally sure-footed. It is an exciting debut, and a film that, without exaggeration or false modesty, finds interest and feeling in the world just as it is.
    • 83 Metascore
    • 90 A.O. Scott
    Mr. Toback's film, partly because it restricts itself to Mr. Tyson's point of view, offers a rare and vivid study in the complexity of a single suffering, raging soul. It is not an entirely trustworthy movie, but it does feel profoundly honest.
    • 82 Metascore
    • 90 A.O. Scott
    A rich, thought-provoking film.
    • 76 Metascore
    • 90 A.O. Scott
    Soul Power, as aptly and succinctly titled a movie as I have ever seen, takes you to a place where the discipline that produces great popular art is indistinguishable from the ecstasy that art creates.
    • 80 Metascore
    • 90 A.O. Scott
    Lorna's Silence is engrossing and powerful, which may be just another way of saying it's a film by the Dardenne brothers. If it falls a bit short of the standards of their best work, that is only because it is not quite a masterpiece.
    • 70 Metascore
    • 90 A.O. Scott
    Beeswax, at first glance a modest, ragged slice of contemporary life, turns out to be a remarkably subtle, even elegant movie.
    • 75 Metascore
    • 90 A.O. Scott
    Ahead of us lie many more documentaries similar in tone and spirit to this one. We can hope that at least a few of them are as intelligently and artfully made.
    • 81 Metascore
    • 90 A.O. Scott
    It is only fitting that a movie concerned with the power and beauty of drawing -- the almost sacred magic of color and line -- should be so gorgeously and intricately drawn.
    • 76 Metascore
    • 90 A.O. Scott
    It is the funniest and saddest movie Mr. Baumbach has made so far, and also the riskiest.
    • 75 Metascore
    • 90 A.O. Scott
    One of the funniest, and most telling, films of the year. The filmmakers call "Kid" a documentary, but the movie is one of the unusual kind that is firmly lodged inside the subject's perspective.
    • 74 Metascore
    • 90 A.O. Scott
    A handmade dream, cobbled together from dirt, wood and more imagination than most of us can muster in our most fevered states. Because this Czech master refuses to work in the scrubbed, antiseptic manner of most animators, this fable comes to life as hilarious and creepy.
    • 76 Metascore
    • 90 A.O. Scott
    So good because it is one of those rare documentaries that combine information with smashing entertainment.
    • 70 Metascore
    • 90 A.O. Scott
    The cumulative effect is that of watching misspent lives disintegrate before your eyes. Ms. Miller's canny accomplishment is a triumph, giving the material weight and heart. This is one of the finest pictures of the year.