A.O. Scott

A.O. Scott

Agrees with the Tomatometer 77% of the time.

A.O. Scott's reviews (from any publication) always count toward the Tomatometer because this critic is a Tomatometer-approved critic.

Movie Reviews Only

Rating T-Meter Title | Year Review

Captain America: Civil War (2016)

""Captain America: Civil War" does not in any way transcend the conventions of the genre. On the contrary: It succeeds because it doesn't really try." ‐ New York Times
Posted May 5, 2016

The Wait (L'attesa) (2016)

"The performances are vivid and moving, but there is ultimately less to this well-made, impeccably acted film than meets the eye. Its meticulousness is to some degree a flaw, an evasion of nearly every variety of human messiness." ‐ New York Times
Posted Apr 28, 2016

Eva Hesse (2016)

"It's like a comprehensive exhibition catalog or a thorough critical essay - an indispensable aid to understanding and appreciating a fascinating artist." ‐ New York Times
Posted Apr 26, 2016

The Huntsman: Winter's War (2016)

"Every resonant theme or intriguing story possibility is stripped away and replaced with a ready-made franchise-movie conceit." ‐ New York Times
Posted Apr 21, 2016

Nina (2016)

"Ms. Mort's writing lacks psychological texture, and her direction generates little intensity, or even continuity." ‐ New York Times
Posted Apr 21, 2016

Sing Street (2016)

"The movie understands how enchantment and disappointment go together, like the A and B sides of a single that won't leave the turntable." ‐ New York Times
Posted Apr 14, 2016

Green Room (2016)

"Mr. Saulnier certainly could have done more, but he succeeds perfectly well within the limited terms he has set for himself." ‐ New York Times
Posted Apr 14, 2016

Barbershop: The Next Cut (2016)

"The most fascinating - and the most moving - thing about this sprawling, sincere and boisterous movie is its tone." ‐ New York Times
Posted Apr 14, 2016

Louder Than Bombs (2016)

"The characters are so carefully drawn that they can feel smaller than life, and the dramatic space they inhabit has a curiously abstract feeling." ‐ New York Times
Posted Apr 7, 2016

11 Minutes (11 Minut) (2016)

"Every situation is presented with maximum lucidity and almost complete inscrutability." ‐ New York Times
Posted Apr 7, 2016

Staub (Dust) (2007)

"Dust is an eccentric and profoundly informative documentary." ‐ New York Times
Posted Apr 6, 2016

Vita Activa: The Spirit of Hannah Arendt (2016)

""Vita Activa," while it will surely satisfy and provoke students of 20th-century intellectual history, feels more urgent than most documentaries of its kind." ‐ New York Times
Posted Apr 5, 2016

Notfilm (2015)

"A charming, earnest, sometimes ungainly mixture of history, criticism and high-minded gossip, "Notfilm" testifies to an almost inexhaustible fascination with the pleasures and paradoxes of cinema." ‐ New York Times
Posted Mar 31, 2016

Francofonia (2016)

"Sokurov has a gift, perhaps unmatched among his international peers, for turning intellectual brooding into visually arresting cinema." ‐ New York Times
Posted Mar 31, 2016

Everybody Wants Some!! (2016)

""Everybody Wants Some!!," which partakes of Mr. Linklater's own recollections of Texas, baseball and college, unfolds in a mood of sweet, lascivious retrospect." ‐ New York Times
Posted Mar 29, 2016

Batman v Superman: Dawn of Justice (2016)

"The studio has, in the usual way, begged and bullied critics not to reveal plot points, and I wouldn't dream of denying you the thrill of discovering just how overstuffed and preposterous a movie narrative can be." ‐ New York Times
Posted Mar 23, 2016

The Clan (El Clan) (2016)

"Fascism is seductive not only because it feeds fantasies of power and greatness, but also because, at a primal, visceral, libidinal level, it can be a lot of fun." ‐ New York Times
Posted Mar 17, 2016

Midnight Special (2016)

"At its heart, "Midnight Special" is a parable of parental love, a heartfelt look at the challenges involved in loving and possibly losing an extraordinary child." ‐ New York Times
Posted Mar 17, 2016

City Of Gold (2016)

""City of Gold" transcends its modest methods, largely because it connects Mr. Gold's appealing personality with a passionate argument about the civic culture of Los Angeles and the place of food within it." ‐ New York Times
Posted Mar 9, 2016

Knight of Cups (2016)

""Knight of Cups" settles into a lukewarm bath of male self-pity, a condition perhaps more deserving of satire than sanctification." ‐ New York Times
Posted Mar 3, 2016

The Club (El Club) (2016)

"It is hard not to feel pity and disgust, and to absorb the lesson that people are awful, perhaps never more so than when they believe themselves innocent or good." ‐ New York Times
Posted Feb 5, 2016

Rams (HrĂștar) (2016)

"Despite its affection for the quirks of its characters and their milieu, the film is most memorable for its gravity, for the almost tragic nobility it finds in sad and silly circumstances." ‐ New York Times
Posted Feb 2, 2016

Rabin, the Last Day (2016)

"It's a profoundly frustrating movie, which is to say that it's an authentic expression of profound frustration." ‐ New York Times
Posted Jan 28, 2016

Aferim! (2016)

"A funny and brutal costume drama with a potent contemporary kick." ‐ New York Times
Posted Jan 21, 2016

Bleak Street (La calle de la amargura) (2016)

"It's a creepy and beguiling oddity, willfully weird but, at the same time, not quite weird enough." ‐ New York Times
Posted Jan 19, 2016

Ride Along 2 (2016)

""Ride Along 2," it may not surprise you to learn, is a lot like "Ride Along," only less so." ‐ New York Times
Posted Jan 14, 2016

In The Shadow of Women (2016)

"Mr. Garrel is always worth attending to when he takes up the rhythms and paradoxes of love, and even though this is a minor entry in his canon of melancholy romances, it is brief, brisk and intermittently affecting." ‐ New York Times
Posted Jan 14, 2016

The Treasure (2016)

""The Treasure" is like the work of Samuel Beckett's long-lost Balkan cousin - bleak, stoic and suffused with a flinty, exasperated empathy for its ridiculous characters." ‐ New York Times
Posted Jan 7, 2016

Joy (2015)

"If "Joy" seems to move toward a foreordained conclusion, it zigzags and covers its tracks along the way, sending its heroine on a roller-coaster ride of raised hopes and brutal disappointments and playing tricks with the audience's expectations." ‐ New York Times
Posted Dec 24, 2015

The Hateful Eight (2015)

"Some of the film's ugliness is therefore a sign of integrity, and of relevance. But much of it seems dumb and ill considered, as if Mr. Tarantino's intellectual ambition and his storytelling discipline had failed him at the same time." ‐ New York Times
Posted Dec 23, 2015

45 Years (2015)

"Mr. Courtenay, a naturally demonstrative actor, registers a convincing blend of longing, confusion and shame. Ms. Rampling, a stiller, deeper-running pool, conveys emotions so strange and intense that they don't quite have names." ‐ New York Times
Posted Dec 22, 2015

Son of Saul (2015)

"It's a beat-the-clock thriller wrapped around an allegory." ‐ New York Times
Posted Dec 17, 2015

Sisters (2015)

""Sisters" is a movie to go out and see when you've run out of television to watch." ‐ New York Times
Posted Dec 17, 2015

The Big Short (2015)

"A true crime story and a madcap comedy, a heist movie and a scalding polemic, "The Big Short" will affirm your deepest cynicism about Wall Street while simultaneously restoring your faith in Hollywood." ‐ New York Times
Posted Dec 10, 2015

Don Verdean (2015)

"There is an absence of meanness in the Hesses' comic worldview that makes their films almost impossible to dislike." ‐ New York Times
Posted Dec 10, 2015

Krampus (2015)

"Lurches between treacle and terror as it stumbles toward a too-easy ending." ‐ New York Times
Posted Dec 3, 2015

Youth (2015)

"Good as it looks, the film starts to feel like an airline magazine collaboratively produced by the editorial staffs of Playboy and Modern Maturity." ‐ New York Times
Posted Dec 3, 2015

Arabian Nights: Volume 1 - The Restless One (As Mil e Uma Noites: Volume 1, O Inquieto) (2015)

"There is a fine line between delving into the mysteries of life and engaging in mystification, and Mr. Gomes lands on the wrong side of it." ‐ New York Times
Posted Dec 3, 2015

The Danish Girl (2015)

"Mr. Hooper's tasteful, earnest, didactic style - magnified by Alexandre Desplat's decorously overwrought score - does the film no favors. And the asymmetry between the central performances doesn't help, either." ‐ New York Times
Posted Nov 26, 2015

Creed (2015)

""Creed" is a dandy piece of entertainment, soothingly old-fashioned and bracingly up-to-date." ‐ New York Times
Posted Nov 24, 2015

The Night Before (2015)

"Various people you know from television show up to give "The Night Before" a sketch-comedy, holiday-special vibe. The writing, by a whole lot of guys, is uneven, and the direction, by Jonathan Levine, is adequate." ‐ New York Times
Posted Nov 19, 2015

Carol (2015)

"At once ardent and analytical, cerebral and swooning, "Carol" is a study in human magnetism, in the physics and optics of eros. With sparse dialogue and restrained drama, the film is a symphony of angles and glances, of colors and shadows." ‐ New York Times
Posted Nov 19, 2015

The 33 (2015)

"With the help of some solid performances and James Horner's heart-squeezing, throat-constricting score (one of the last he composed before his death in June), "The 33" holds your attention and pushes the required buttons." ‐ New York Times
Posted Nov 12, 2015

Miss You Already (2015)

"There are some sitcom beats and moments of smiling-through-tears fakiness, but you never doubt that these women love each other and that the movie's interest in the complexities of that love is justified." ‐ New York Times
Posted Nov 5, 2015

Spotlight (2015)

""Spotlight" is a gripping detective story and a superlative newsroom drama, a solid procedural that tries to confront evil without sensationalism." ‐ New York Times
Posted Nov 4, 2015

Brooklyn (2015)

"Ms. Ronan uses everything - her posture, her eyebrows, her breath, her teeth, her pores - to convey a process of change that is both seismic and subtle." ‐ New York Times
Posted Nov 3, 2015

Nasty Baby (2015)

"What had looked like a meandering, anecdotal story turns out to be a carefully constructed narrative machine, one that dispenses a brilliantly nasty series of surprises." ‐ New York Times
Posted Oct 22, 2015

Suffragette (2015)

"Stirring and cleareyed - the best kind of history lesson." ‐ New York Times
Posted Oct 22, 2015

The Assassin (2015)

"The film is intriguing, but ultimately opaque, a lovely, inert object that offers, in the name of movie love, an escape from so much that is vital and interesting about movies." ‐ New York Times
Posted Oct 15, 2015

Crimson Peak (2015)

"The film is too busy, and in some ways too gross, to sustain an effective atmosphere of dread. It tumbles into pastiche just when it should be swooning and sighing with earnest emotion." ‐ New York Times
Posted Oct 15, 2015