For 1,463 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 2.9 points higher than other critics. (0-100 point scale)

A.O. Scott's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Toy Story 3
Lowest review score: 0 Battlefield Earth: A Saga of the Year 3000
Score distribution:
1,463 movie reviews
    • 75 Metascore
    • 90 A.O. Scott
    If he is a self-revealing writer, it is not in the usual, confessional sense, but rather because he seems so strongly present in his books, with a personality that is both the source and aftereffect of the prose.
    • 81 Metascore
    • 90 A.O. Scott
    American fans of "The Hunger Games" may not embrace - or even be permitted to see - Battle Royale, which is too bad. It is in many ways a better movie and in any case a fascinating companion, drawn from a parallel cultural universe. It is a lot uglier and also, perversely, a lot more fun.
    • 78 Metascore
    • 90 A.O. Scott
    5 Broken Cameras deserves to be appreciated for the lyrical delicacy of his voice and the precision of his eye. That it is almost possible to look at the film this way - to foresee a time when it might be understood, above all, as a film - may be the only concrete hope Mr. Burnat and Mr. Davidi have to offer.
    • 80 Metascore
    • 90 A.O. Scott
    Schadenfreude and disgust may be unavoidable, but to withhold all sympathy from the Siegels is to deny their humanity and shortchange your own. Marvel at the ornate frame, mock the vulgarity of the images if you want, but let's not kid ourselves. If this film is a portrait, it is also a mirror.
    • 63 Metascore
    • 90 A.O. Scott
    This movie is graceful, subtle and sure-footed, much as its English title implies.
    • 79 Metascore
    • 90 A.O. Scott
    “Dawn” is more than a bunch of occasionally thrilling action sequences, emotional gut punches and throwaway jokes arranged in predictable sequence. It is technically impressive and viscerally exciting, for sure, but it also gives you a lot to think, and even to care, about.
    • 66 Metascore
    • 90 A.O. Scott
    Mr. Solondz brilliantly - triumphantly - turns this impression on its head, transforming what might have been an exercise in easy satirical cruelty into a tremendously moving argument for the necessity of compassion.
    • 61 Metascore
    • 90 A.O. Scott
    Maybe, beneath the stylistic flourishes and bursts of operatic emotion, it is a simple story of psychological struggle, about a man in midlife reckoning with the damage of his past. But to settle on that interpretation is to deny or discount the splendid strangeness of Mr. Sorrentino's vision - and also, therefore, of the curious corners of reality he discovers along the way.
    • 77 Metascore
    • 90 A.O. Scott
    With his sound designer, Pablo Lamar, Mr. Mendonça has created the aural landscape of a horror movie. And, for much of its running time, a thriller without a plot.
    • 73 Metascore
    • 90 A.O. Scott
    Rust and Bone is a strong, emotionally replete experience, and also a tour de force of directorial button pushing. Mr. Audiard is a canny showman, adept at manipulating the audience's feelings and expectations with quick edits and well-chosen songs.
    • 79 Metascore
    • 90 A.O. Scott
    Its subject is not addiction or ambition, or even love in a conventional romantic sense, but rather the more elusive and intriguing matter of intimacy: how it grows, falters and endures over time.
    • 74 Metascore
    • 90 A.O. Scott
    Prisoners is the kind of movie that can quiet a room full of casual thrill-seekers. It absorbs and controls your attention with such assurance that you hold your breath for fear of distracting the people on screen, exhaling in relief or amazement at each new revelation
    • 81 Metascore
    • 90 A.O. Scott
    Tchoupitoulas does explore the border between innocence and experience. It is alive with the risk and curiosity of youth, and unapologetic in insisting that the pursuit of fun can be a profound and transformative experience.
    • 74 Metascore
    • 90 A.O. Scott
    The most powerful thing about The Pirogue is the way it deals with emotionally charged events matter-of-factly, rather than melodramatically. The story Mr. Touré has chosen to tell is both painfully specific - about these individuals, in this boat - and immeasurably vast, since the experience it depicts is shared by millions of people around the world. And yet somehow he gets the scale just right.
    • 65 Metascore
    • 90 A.O. Scott
    To call this thrillingly original, deeply felt movie a coming-of-age story would be to insult it with cliché. It’s much more the story, or rather a series of interlocking, incomplete stories, about what it feels like to be a certain age and to feel caught, as the title suggests, between the desire to be yourself and the longing to fit in.
    • 74 Metascore
    • 90 A.O. Scott
    Like the great space epics of the past, Christopher Nolan’s Interstellar distills terrestrial anxieties and aspirations into a potent pop parable, a mirror of the mood down here on Earth.
    • 76 Metascore
    • 90 A.O. Scott
    Mr. Assayas’s method is observant and immersive. His camera moves among young bodies like an invisible friend, and his somewhat messy narrative is propelled by fidelity to feeling rather than by the machinery of plot.
    • 74 Metascore
    • 90 A.O. Scott
    Peculiar and sneakily brilliant.
    • 86 Metascore
    • 90 A.O. Scott
    This is a comedy, with plenty of acutely funny lines, a handful of sharp sight gags and a few minutes of pure, perfect madcap. But a grim, unmistakable shadow falls across its wintry landscape.
    • 77 Metascore
    • 90 A.O. Scott
    The film is earnestly and unabashedly melodramatic to an extent that may baffle audiences accustomed to clever, knowing historical fictions. But it also has a depth and purity of feeling that makes other movies feel timid and small by comparison.
    • 69 Metascore
    • 90 A.O. Scott
    You Ain’t Seen Nothin’ Yet is a sly, elegant meditation on the relationship between reality and artifice. But it is a thought-experiment driven above all by emotion.
    • 65 Metascore
    • 90 A.O. Scott
    Mr. Krokidas deftly shows how the ambition to write is entangled with other impulses.
    • 84 Metascore
    • 90 A.O. Scott
    Though the movie is playfully postmodern in its pastiche of styles and its mingling of sincerity and self-consciousness, there is also something solidly old-fashioned about the way it tells its story.
    • 77 Metascore
    • 90 A.O. Scott
    This is not a fable of assimilation or alienation, but rather the keenly observed story of two people seeking guidance in painful and complicated circumstances.
    • 69 Metascore
    • 90 A.O. Scott
    The film is a cat-and-mouse game in which each player thinks he’s the cat, making it both thrilling and disconcerting to watch. It is also a nature documentary about behavior at the very top of the imperial food chain and a detective story about the search for a mystery that is hidden in plain sight.
    • 65 Metascore
    • 90 A.O. Scott
    The movie expands in its frame, surpassing simple comprehension and continuing to grow in your mind — and perhaps to blow it — long after it’s over.
    • 78 Metascore
    • 90 A.O. Scott
    “Shoah” remains a heroic reckoning with the limits of collective understanding, but The Last of the Unjust is something smaller, stranger and more paradoxical: the portrait of an individual whose actions still defy comprehension, and the self-portrait of an artist consumed by the past.
    • 73 Metascore
    • 90 A.O. Scott
    Beyond the Lights may be a fantasy — movies about love, like songs about love, tend to fall into that category — but it is an uncommonly smart and honest fantasy.
    • 79 Metascore
    • 90 A.O. Scott
    You want to see this movie, and you will want to talk about it afterward, even if the conversation feels a little awkward. If it doesn’t, you’re doing it wrong. There is great enjoyment to be found here, and very little comfort.
    • 87 Metascore
    • 90 A.O. Scott
    It may get a few things wrong, but it aims at, and finally achieves, an authenticity at once more exalted and more primal than mere verisimilitude.

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