For 1,839 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 1.2 points higher than other critics. (0-100 point scale)

A.O. Scott's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Sausage Party
Lowest review score: 0 Shoot 'Em Up
Score distribution:
1839 movie reviews
    • 93 Metascore
    • 100 A.O. Scott
    Minding the Gap is more than a celebration of skateboarding as a sport and a subculture. With infinite sensitivity, Mr. Liu delves into some of the most painful and intimate details of his friends’ lives and his own, and then layers his observations into a rich, devastating essay on race, class and manhood in 21st-century America.
    • 62 Metascore
    • 60 A.O. Scott
    Mr. Peretz and the screenwriters (Evgenia Peretz, the director’s sister, is credited along with Tamara Jenkins and Jim Taylor) find an amiable farcical groove, and the actors embrace the ridiculousness of the circumstances without overdoing it.
    • 74 Metascore
    • 70 A.O. Scott
    Without betraying any overt nostalgia, Crazy Rich Asians casts a fond eye backward as well as Eastward, conjuring a world defined by hierarchies and prescribed roles in a way that evokes classic novels and films.
    • 79 Metascore
    • 70 A.O. Scott
    if Madeline’s Madeline is sometimes unconvincing and frequently unnerving, it is never uninteresting. In its final moments it ascends into heady, almost visionary territory, like a balloon caught in a sudden updraft, and becomes a singular and strange experience.
    • 82 Metascore
    • 100 A.O. Scott
    BlacKkKlansman is a furious, funny, blunt and brilliant confrontation with the truth. It’s an alarm clock ringing in the midst of a historical nightmare, and also a symphony, the rare piece of political popular art that works in all three dimensions.
    • 68 Metascore
    • 90 A.O. Scott
    Satire and outrage are easier approaches than the tact and empathy Ms. Akhavan deploys. The Miseducation of Cameron Post, confident in its beliefs and curious about what makes its characters tick, is more interested in listening than in preaching.
    • 51 Metascore
    • 70 A.O. Scott
    Ms. McKinnon is too inventive to make the character a standard, zany rom-com sidekick. There is no real precedent for her highly disciplined comic anarchy, but Ms. McKinnon reminds me a little of Peter Sellers in her command of voice, face and body and her ability to turn every scene into a popcorn popper of verbal and physical surprise.
    • 81 Metascore
    • 90 A.O. Scott
    Mr. Riley isn’t constructing yet another postmodern playhouse out of borrowings and allusions. He’s building a raft, and steering it straight into the foaming rapids of racism, economic injustice and cultural conflict.
    • 83 Metascore
    • 90 A.O. Scott
    Mr. Legrand is skilled in the techniques of dread and suspense, and without sensationalizing or cheapening the story, he gives this closely observed drama the tension and urgency of a thriller.
    • 61 Metascore
    • 60 A.O. Scott
    Dumber, less inventive and not as pretentious as “Sicario” (released in 2015, directed by Denis Villeneuve and written by Mr. Sheridan), it both advances and retreats, expanding on the original and narrowing its scope.
    • 51 Metascore
    • 50 A.O. Scott
    “Fallen Kingdom,” directed by J. A. Bayona, is in most respects a dumber, less ambitious movie than its immediate predecessor, and also, for just that reason, a little bit more fun. Some of its high jinks have a hokey, silly, old-fashioned mad-scientist feeling to them, especially when the dinosaurs are chasing people or vice versa. Which is reasonably often.
    • 69 Metascore
    • 90 A.O. Scott
    More than a simple tribute or a fond remembrance, it is a remarkable and full-throated elegy, a work of art that is full of life.
    • 56 Metascore
    • 70 A.O. Scott
    Tag
    Tag, unlike too many of its recent ilk, at least bothers to be a movie, rather than a television sketch distended to feature length. The performers don’t seem to have been shoved in front of the camera and instructed to be funny. They have to work for their laughs, and to find coherence as an ensemble.
    • 87 Metascore
    • 80 A.O. Scott
    The film, Mr. Aster’s debut feature, is engaging, unsettling and unpredictable, generating a mood of anxious fascination punctuated by frequent shocks and occasional nervous giggles. But I also found it a bit disappointing.
    • 85 Metascore
    • 90 A.O. Scott
    It is that emphasis — the earnest, critical attention to the public Mister Rogers and his legacy — that makes Won’t You Be My Neighbor? feel like such a gift.
    • 56 Metascore
    • 50 A.O. Scott
    The chronological back-and-forth diffuses the dread and suspense — the feeling of desperate uncertainty implied by the title — that might have made for a more intense, more memorable yarn.
    • 66 Metascore
    • 40 A.O. Scott
    The film, written and directed by Bart Layton, can’t quite decide what it wants to be: a slick, speedy caper; a goofball comedy; or a commentary on the state of the American soul. It’s none of those — a tame and toothless creature that is neither fish nor fowl.
    • 49 Metascore
    • 70 A.O. Scott
    This account is plausible and moving, at once a defense of genre fiction and of female creativity. But at times the differences between male and female writers can seem a bit schematic, in a way that undermines Mary’s intellectual autonomy.
    • 85 Metascore
    • 100 A.O. Scott
    It is the portrait of a soul in torment, all the more powerful for being so rigorously conceived and meticulously executed.
    • 53 Metascore
    • 60 A.O. Scott
    These women — Ms. Fonda, Ms. Keaton, Ms. Steenburgen and Ms. Bergen, that is — have nothing to prove. Each one brings enough credibility and charisma to Book Club to render its weaknesses largely irrelevant.
    • 62 Metascore
    • 80 A.O. Scott
    Onscreen, On Chesil Beach loses some intensity at the end, as the supple suggestiveness of Mr. McEwan’s prose is replaced by the stagy literalness of film. Perhaps this couldn’t be avoided.
    • 62 Metascore
    • 60 A.O. Scott
    It doesn’t take itself too seriously, but it also holds whatever irreverent, anarchic impulses it might possess in careful check.
    • 66 Metascore
    • 60 A.O. Scott
    There is something ever so slightly dishonest about this character, something false about the boundaries drawn around his sadism and his rage. Deadpool 2 dabbles in ugliness and transgression, but takes no real creative risks.
    • 46 Metascore
    • 50 A.O. Scott
    The zaniness is pretty low-key, and what we witness is less the explosion of pent-up energy than the gentle affirmation of exuberant kindness.
    • 72 Metascore
    • 90 A.O. Scott
    The Day After, one of three films this prolific director brought to festivals in 2017 (another one screened in Berlin in February), is an especially elegant presentation of some of his [Mr. Hong’s] characteristic concerns.
    • 81 Metascore
    • 80 A.O. Scott
    Revenge leaves a lurid, punchy afterimage, an impression somewhere between righteous delight and quivering revulsion. It’s both a challenge and a calling card, in which Ms. Fargeat at once exposes what’s wrong with her chosen genre and demonstrates her mastery of it.
    • 59 Metascore
    • 50 A.O. Scott
    The cast is great. The play is great. But this is still a bad movie, because it has no clear or coherent idea of how to be one.
    • 81 Metascore
    • 80 A.O. Scott
    The Guardians is a historical drama that doesn’t lose itself in decorative period detail, a beautifully photographed chronicle of rural existence that refrains from picturesque sentimentality and grinding misery, the usual modes for this kind of film.
    • 72 Metascore
    • 70 A.O. Scott
    RBG
    Directed by Betsy West and Julie Cohen, the film is a jaunty assemblage of interviews, public appearances and archival material, organized to illuminate its subject’s temperament and her accomplishments so far.
    • 79 Metascore
    • 80 A.O. Scott
    Ms. Binoche, effortlessly charismatic and ruthlessly unvain, has no investment in the character’s likability. She and Ms. Denis could not care less what you think of her. Let the Sunshine In commits itself to taking Isabelle on her own terms. The challenge, for her and for the audience, is to figure out what those terms are.

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