For 1,694 reviews, this critic has graded:
  • 49% higher than the average critic
  • 3% same as the average critic
  • 48% lower than the average critic
On average, this critic grades 2.1 points higher than other critics. (0-100 point scale)

A.O. Scott's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Moonlight
Lowest review score: 0 Battlefield Earth: A Saga of the Year 3000
Score distribution:
1694 movie reviews
    • 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.
    • 79 Metascore
    • 90 A.O. Scott
    Nimble and self-assured as Mr. Daniels’s direction may be, he could not make you believe in “Precious” unless you were able to believe in Precious herself. You will.
    • 83 Metascore
    • 90 A.O. Scott
    A sharply written, fast-talking, almost dementedly articulate satire on modern statecraft.
    • 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.
    • 69 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.
    • 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.
    • 83 Metascore
    • 90 A.O. Scott
    In some ways his (Anderson) most fully realized and satisfying film. Once you adjust to its stop-and-start rhythms and its scruffy looks, you can appreciate its wit, its beauty and the sly gravity of its emotional undercurrents.
    • 79 Metascore
    • 90 A.O. Scott
    The story is at once hilarious and horrific, its significance both self-evident and opaque. The same could be said of most of the Coen brothers’ movies, in which human existence and the attempt to find meaning in it are equally futile, if also sometimes a lot of fun. (For us, at least.)
    • 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
    Ms. Campion, with her restless camera movements and off-center close-ups, films history in the present tense, and her wild vitality makes this movie romantic in every possible sense of the word.
    • 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.
    • 77 Metascore
    • 90 A.O. Scott
    No movie can convey the truth of war to those of us who have not lived through it, but The Messenger, precisely by acknowledging just how hard it is to live with that truth, manages to bring it at least partway home.
    • 69 Metascore
    • 90 A.O. Scott
    Mr. Herzog’s film is a pulpy, glorious mess. Its maniacal unpredictability is such a blast that it reminds you just how tidy and dull most crime thrillers are these days.
    • 76 Metascore
    • 90 A.O. Scott
    Broken Embraces leaves the viewer in a contradictory state, a mixture of devastation and euphoria, amusement and dismay that deserves its own clinical designation. Call it Almodóvaria, a syndrome from which some of us are more than happy to suffer.
    • 73 Metascore
    • 90 A.O. Scott
    Art is a fairy tale we choose to believe in, and this movie, a fiction confected about real people, is too good not to be true.
    • 81 Metascore
    • 90 A.O. Scott
    The contradictions of adolescence have rarely been conveyed with such authenticity and force.
    • 82 Metascore
    • 90 A.O. Scott
    One of the pleasures of Ajami, a tough and in many ways unsparing movie, is its deep immersion in the beats and melodies of everyday life in Jaffa and beyond.
    • 70 Metascore
    • 90 A.O. Scott
    Its scrupulous, humane sympathy gives this small, sorrowful film a glow of insight and a pulse of genuine, openhearted curiosity.
    • 62 Metascore
    • 90 A.O. Scott
    Ms. Abt provides an unusually honest, compassionate and challenging view of contemporary youth, neither sugarcoated nor prurient.
    • 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
    By the time the final measure of rough cosmic justice is meted out, The Square has completed a tour of moral squalor that is suspenseful, invigorating and sometimes harshly funny.
    • 71 Metascore
    • 90 A.O. Scott
    The film is careful to avoid explicit political statement, but its reticence makes its critique of the Iranian regime all the more devastating.
    • 69 Metascore
    • 90 A.O. Scott
    A sharp, small-scale comedy of male misbehavior that turns out to be one of this dreary spring’s pleasant cinematic surprises.
    • 59 Metascore
    • 90 A.O. Scott
    Two in the Wave honors that collaboration by carefully recounting its details and arguing for its significance. The films of Truffaut and Mr. Godard stand or fall by themselves, but together they made history.
    • 90 Metascore
    • 90 A.O. Scott
    The film's realism is a point of entry rather than the whole point of the exercise. Its setting is finally subordinate to the main character, as memorable and vivid a heroine as you are likely to see on screen this season.
    • 85 Metascore
    • 90 A.O. Scott
    As the war in Afghanistan returns to the front pages and the national debate, we owe the men in Restrepo, at the very least, 90 minutes or so of our attention. If nothing else, this film, in showing how much they care about one another, demands the same of us.
    • 63 Metascore
    • 90 A.O. Scott
    At under 90 minutes, Around a Small Mountain is, by Mr. Rivette’s standards, a small vignette. It could have been —--and perhaps was -- part of something longer and more complex, but it stands as perfectly on its own as Pic St.-Loup, marvelous to contemplate and changing slightly every time you see it.

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