For 1,702 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 2.2 points higher than other critics. (0-100 point scale)

A.O. Scott's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Beasts of the Southern Wild
Lowest review score: 0 Battlefield Earth: A Saga of the Year 3000
Score distribution:
1702 movie reviews
    • 71 Metascore
    • 90 A.O. Scott
    Bronson invites you to admire its protagonist as a pure, muscular embodiment of anarchy. And perhaps you will, but you may also be glad that he’s still behind bars.
    • 73 Metascore
    • 90 A.O. Scott
    In Ms. Nair’s hands, Phiona’s story has a richness and unpredictability that separates it from other, superficially similar movies. It also has the buoyant, cleareyed feel for the particulars of culture and place that is among this director’s great gifts.
    • 76 Metascore
    • 90 A.O. Scott
    Their comedy gives audiences that have never seen anything like it a hilarious window on a new world.
    • 85 Metascore
    • 90 A.O. Scott
    A show not simply preserved by Mr. Lee’s camera, but brought, somehow, to its fullest, strangest, most electrifying realization.
    • 70 Metascore
    • 90 A.O. Scott
    Hedges's intelligent and touching farce, Pieces of April, makes an important contribution to a small and insignificant subgenre: Thanksgiving Day failure. It does so by raising the bar.
    • 94 Metascore
    • 90 A.O. Scott
    The towering, lost dreaminess at the heart of the film is an unmistakable obsession of this director.
    • 76 Metascore
    • 90 A.O. Scott
    In its thrilling disregard for the conventions of commercial cinematic storytelling, Wild reveals what some of us have long suspected: that plot is the enemy of truth, and that images and emotions can carry meaning more effectively than neatly packaged scenes or carefully scripted character arcs.
    • 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.
    • 68 Metascore
    • 90 A.O. Scott
    Less a parable of literary ethics than a showcase of literary personality, and it is in the end more touching than troubling.
    • 88 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.
    • 89 Metascore
    • 90 A.O. Scott
    It’s a sober, revelatory and absolutely vital film.
    • 79 Metascore
    • 90 A.O. Scott
    The subtext of the relationship is not sexuality, as it is in "Twilight" or "True Blood," but rather the loneliness of children and their often unrecognized reservoirs of rage.
    • 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.
    • 76 Metascore
    • 90 A.O. Scott
    It is the funniest and saddest movie Mr. Baumbach has made so far, and also the riskiest.
    • 71 Metascore
    • 90 A.O. Scott
    It is appropriately blunt, powerful and relentless, a study of male bodies in sweaty motion and masculine emotions in teary turmoil.
    • 76 Metascore
    • 90 A.O. Scott
    Full of ideas about sexuality - some quite provocative, even a century after their first articulation - but it also recognizes and communicates the erotic power of ideas.
    • 81 Metascore
    • 90 A.O. Scott
    Juno respects the idiosyncrasies of its characters rather than exaggerating them or holding them up for ridicule.
    • 79 Metascore
    • 90 A.O. Scott
    What Winter on Fire lacks in journalistic detachment it more than makes up for in fidelity to the feelings and motives of the participants. It’s more than just a portrait of terror, anger, desperation and resolve; it communicates those emotions directly, into the bloodstream and nervous system of the audience.
    • 88 Metascore
    • 90 A.O. Scott
    Doesn't try to cram messages of uplift down its audience's gullet. It's a great eggscape from banality.
    • 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.
    • 75 Metascore
    • 90 A.O. Scott
    Easily one of the finest pictures of 2003 or any other year.
    • 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.
    • 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.
    • 88 Metascore
    • 90 A.O. Scott
    Never has a film so strongly been a product of a director's respect for its source. Mr. Jackson uses all his talents in the service of that reverence, creating a rare perfect mating of filmmaker and material.
    • 65 Metascore
    • 90 A.O. Scott
    Mr. Krokidas deftly shows how the ambition to write is entangled with other impulses.

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