For 1,277 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 2.8 points higher than other critics. (0-100 point scale)

V.A. Musetto's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Twentynine Palms
Lowest review score: 0 Blood: The Last Vampire
Score distribution:
1,277 movie reviews
    • 63 Metascore
    • 88 V.A. Musetto
    Inspired by Edgar Allan Poe and the Marquis de Sade (interesting combination, no?).
    • 74 Metascore
    • 88 V.A. Musetto
    An acid trip of a movie about a piece of Los Angeles history that exists no more: the Ambassador Hotel.
    • 69 Metascore
    • 88 V.A. Musetto
    What do you get when you mix a Douglas Sirk melodrama with a Sergio Leone Western? Tears of the Black Tiger, a high-camp Western from, of all places, Thailand.
    • 85 Metascore
    • 88 V.A. Musetto
    A fantastical genre-buster.
    • 67 Metascore
    • 88 V.A. Musetto
    Unspeakable brutality ensues, including a rape, a castration and cold-blooded murder. Dumont never mentions Iraq, but the parallels are clear.
    • 80 Metascore
    • 88 V.A. Musetto
    Intelligent and tasteful, even while being sexually frank.
    • 97 Metascore
    • 88 V.A. Musetto
    It is filmmaking as it should be but usually isn't.
    • 80 Metascore
    • 88 V.A. Musetto
    A modest and charming comedy from Israel.
    • 76 Metascore
    • 88 V.A. Musetto
    Low-budget triumph.
    • 78 Metascore
    • 88 V.A. Musetto
    Beautifully composed, The Last Mistress, Breillat's 11th film, deals with the theme she has put forth in such previous work as "Romance" and "Fat Girl": how women deal with sexual desire.
    • 82 Metascore
    • 88 V.A. Musetto
    So powerful is Stranded that when the lucky few finally make their way back to civilization, you feel as thrilled as if they were your own loved ones.
    • 79 Metascore
    • 88 V.A. Musetto
    As is his custom, Reygadas uses a mostly nonprofessional cast; and, as expected, he draws remarkably realistic performances.
    • 87 Metascore
    • 88 V.A. Musetto
    The film's disclosure that Camorra money is involved with the reconstruction of New York City's Ground Zero will give viewers something to think about.
    • 74 Metascore
    • 88 V.A. Musetto
    You know a performance has to be special when a Palestinian wins Israel's version of the Best Actress Oscar. But why should politics detract from a stunning performance?
    • 81 Metascore
    • 88 V.A. Musetto
    The highly stylized, often outrageously funny biopic is anchored by a devastating performance by Toni Servillo as Andreotti, brilliantly capturing the gnomic politician's trademark slouch and inexpressive face.
    • 72 Metascore
    • 88 V.A. Musetto
    After winning raves at last year's New York Film Festival, Pablo Larrain's Tony Manero, from Chile, is receiving a run here.
    • 79 Metascore
    • 88 V.A. Musetto
    To its credit, this remarkable film does not contrive a happy ending. Under the circumstances, even a mildly hopeful one seems like a triumph of the highest order.
    • 92 Metascore
    • 88 V.A. Musetto
    Denis -- who has called the film a tribute to the great Japanese director Yasujiro Ozu -- keeps dialogue to a minimum as she delicately examines how immigration is changing the face of France.
    • 49 Metascore
    • 88 V.A. Musetto
    Very few actors would have the courage to allow von Trier to put them through what Dafoe and Gainsbourg experienced in the name of art.
    • 69 Metascore
    • 88 V.A. Musetto
    The Good, the Bad, the Weird may owe a lot to other films, but it is always fresh and never boring.
    • 82 Metascore
    • 88 V.A. Musetto
    Working from a well-thought-out script co-written by director Stéphane Brizé, the two stars deliver impressive, understated performances.
    • 65 Metascore
    • 88 V.A. Musetto
    Wild Grass is a French movie for people afraid of French movies.
    • 57 Metascore
    • 88 V.A. Musetto
    A twisty, spectacular farce.
    • 82 Metascore
    • 88 V.A. Musetto
    Balibar's dreamy voice (I'm reminded of Billie Holiday) is complemented by Costa's hypnotic camera work. The result is a visual and aural delight.
    • 82 Metascore
    • 88 V.A. Musetto
    Literate and engrossing, with excellent performances.
    • 85 Metascore
    • 88 V.A. Musetto
    A Western, but any similarities between it and, say, a Gene Autry or Hopalong Cassidy shoot-em-up are nonexistent.
    • 86 Metascore
    • 88 V.A. Musetto
    With Japan facing a new nuclear crisis, this beautifully composed and acted heart-wrencher -- couldn't be more timely.
    • 87 Metascore
    • 88 V.A. Musetto
    A must-see for Miike's passionate legion of fans. But even action buffs who've never seen any of his films before will be drawn in by this masterful exercise in cinematic butchery.
    • 75 Metascore
    • 88 V.A. Musetto
    You might be reminded of Jean-Jacques Beineix's 1981 thriller "Diva," which also involves crooked cops and Metro chases. But you need never have seen "Diva" to be captivated by the exhilarating Point Blank.
    • 65 Metascore
    • 88 V.A. Musetto
    There are superb performances by Iranian-Canadian Nikohl Boosheri as Atafeh, the more rebellious of the two women, and French-born Sarah Kazemy as the less-privileged Shireen.