A.O. Scott Movie Reviews & Previews - Rotten Tomatoes

A.O. Scott

A.O. Scott
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
75% Loving Vincent (2017) As the story limps and drags, the viewer also becomes accustomed to the images, and astonishment at the film's innovative, painstaking technique begins to fade. But its charm never quite wears off, for reasons summed up in the title.‐ New York Times
Read More | Posted Sep 21, 2017
53% The Lego Ninjago Movie (2017) I'm sorry to report that the Lego movie enterprise has lapsed into intentional mediocrity.‐ New York Times
Read More | Posted Sep 20, 2017
82% Brad's Status (2017) "Brad's Status" at its best is genuinely thought-provoking.‐ New York Times
Read More | Posted Sep 14, 2017
33% American Assassin (2017) Decent fun, in the leathery, businesslike, self-satisfied manner of this kind of movie, which soothes the hurt places in the male ego with sentiment strategically disguised as toughness.‐ New York Times
Read More | Posted Sep 14, 2017
67% mother! (2017) Mr. Aronofsky's visual wit and dexterous, disciplined camera movements create frissons of comic terror.‐ New York Times
Read More | Posted Sep 13, 2017
67% The Challenge (2017) It is detached almost to the point of abstraction.‐ New York Times
Read More | Posted Sep 7, 2017
70% The Unknown Girl (La fille inconnue) (2017) Shot with unassuming lyricism and an eye for everyday detail and full of modest, eloquent performances.‐ New York Times
Read More | Posted Sep 7, 2017
84% It (2017) The filmmakers honor both the pastoral and the infernal dimensions of Mr. King's distinctive literary vision.‐ New York Times
Read More | Posted Sep 6, 2017
43% Bushwick (2017) The filmmakers feign boldness in tackling national politics, but revert to coyness and caricature when it comes to local matters, gesturing toward a multiculturalism that isn't even skin deep and sweeping gentrification under the rug.‐ New York Times
Read More | Posted Aug 24, 2017
75% Crown Heights (2017) Like its protagonist, sensitively and shrewdly played by Lakeith Stanfield, the film is soft-spoken and thoughtful, with sweet, lyrical touches that alleviate some of the grimness without blunting the cruelty and injustice of what happened.‐ New York Times
Read More | Posted Aug 17, 2017
84% Patti Cake$ (2017) The story of a white suburban redhead chasing hip-hop glory may set off alarms about cultural appropriation, but the film mostly disarms them, or mixes them into the soundtrack.‐ New York Times
Read More | Posted Aug 17, 2017
93% Logan Lucky (2017) Mr. Soderbergh revels in squareness, and in a loose self-confidence that disguises its mastery. "Logan Lucky" is a terrific movie.‐ New York Times
Read More | Posted Aug 16, 2017
37% The Hitman's Bodyguard (2017) "The Htiman's Bodyguard" ... is not a good movie, but, in fairness, it doesn't try to be.‐ New York Times
Read More | Posted Aug 16, 2017
84% Nocturama (2017) When the ruthless, faceless power of the state finally asserts itself, what is meant to be a shocking climax merits little more than a nod and a shrug.‐ New York Times
Read More | Posted Aug 10, 2017
88% Good Time (2017) It's stale, empty and cold.‐ New York Times
Read More | Posted Aug 10, 2017
48% The Glass Castle (2017) Jeannette, the central voice and consciousness in the book, is an oddly blurred character on screen. And the film itself loses focus as it drifts toward the conventions of the coming-of-age story and the family-dysfunction melodrama.‐ New York Times
Read More | Posted Aug 10, 2017
82% Detroit (2017) The film's struggle against simplification - against the sentimentality, wishful thinking and outright denial that defines most Hollywood considerations of America's racial past - is palpable, almost heroic, even if it is not always successful.‐ New York Times
Read More | Posted Jul 26, 2017
74% Landline (2017) For all the profanity and naughty behavior, it has the timid, ingratiating vibe of a television sitcom, sticking to safe and familiar emotional territory.‐ New York Times
Read More | Posted Jul 20, 2017
86% The Untamed (La región salvaje) (2017) There is a fine line between horror and humor, and if you adjust your angle of vision accordingly, you can see the architecture of farce beneath the ornamentation of shock and suffering.‐ New York Times
Read More | Posted Jul 20, 2017
50% Valerian and the City of a Thousand Planets (2017) The City might be an interesting place to spend some time if a busy and chaotic story didn't keep getting in the way, and if we were allowed to hang out for a little while longer with Ethan Hawke and Rihanna.‐ New York Times
Read More | Posted Jul 20, 2017
94% Endless Poetry (Poesía Sin Fin) (2017) Mr. Jodorowsky, at 88, shows the irrepressible energy of a man who is just getting started.‐ New York Times
Read More | Posted Jul 13, 2017
93% War for the Planet of the Apes (2017) A superb example - rare in this era of sloppily constructed, commercially hedged cinematic universes - of clear thinking wedded to inventive technique in popular filmmaking.‐ New York Times
Read More | Posted Jul 12, 2017
92% A Ghost Story (2017) Just when you think you've cracked the film's circumscribed logic, it opens up and goes wild in ways at once too wondrous and too preposterous to spoil.‐ New York Times
Read More | Posted Jul 5, 2017
17% The House (2017) A dark, startlingly bloody journey into the bitter, empty, broken heart of the American middle class, a blend of farce and satire built on a foundation of social despair.‐ New York Times
Read More | Posted Jul 1, 2017
80% The Reagan Show (2017) "The Reagan Show" helps attach a face to the name, but it doesn't accomplish much more than that.‐ New York Times
Read More | Posted Jun 29, 2017
85% Okja (2017) The picture, which never stops moving, is dense with information and feeling. Barbs of satire pop up and are washed away on streams of strong emotion. It's all marvelously preposterous and yet, at the same time, something important is at stake.‐ New York Times
Read More | Posted Jun 27, 2017
43% The Bad Batch (2017) It's good, dirty fun. But it also takes exploitation - of bodies, of feeling, of labor - seriously.‐ New York Times
Read More | Posted Jun 22, 2017
78% The Beguiled (2017) "Beguiled" is less a hothouse flower than a bonsai garden, a work of cool, exquisite artifice that evokes wildness on a small, controlled scale.‐ New York Times
Read More | Posted Jun 22, 2017
77% Beatriz at Dinner (2017) The seriousness of its themes in no way detracts from the delight in watching Ms. Hayek and Mr. Lithgow perform their eccentric, intricate dance.‐ New York Times
Read More | Posted Jun 8, 2017
89% It Comes At Night (2017) Mr. Shults doesn't jolt the audience with false scares or showy plot twists. He builds up the dread with ruthless efficiency and minimal gimmickry, relying on and refreshing some of the oldest techniques in the book.‐ New York Times
Read More | Posted Jun 8, 2017
16% The Mummy (2017) It will be argued that this one was made not for the critics but for the fans. Which is no doubt true. Every con game is played with suckers in mind.‐ New York Times
Read More | Posted Jun 7, 2017
78% The Exception (The Kaiser's Last Kiss) (2017) "The Exception" is a diverting and occasionally exciting film, though it is rarely disturbing or thought-provoking in ways the material might require.‐ New York Times
Read More | Posted Jun 1, 2017
92% Wonder Woman (2017) It feels less like yet another installment in an endless sequence of apocalyptic merchandising opportunities than like ... what's the word I'm looking for? A movie. A pretty good one, too.‐ New York Times
Read More | Posted May 31, 2017
29% Pirates of the Caribbean: Dead Men Tell No Tales (2017) Its pleasures are so meager, its delight in its own inventions so forced and false, that it becomes almost the perfect opposite of entertainment.‐ New York Times
Read More | Posted May 25, 2017
53% War Machine (2017) At its best, "War Machine" crackles with irreverent wit, even if American political craziness circa 2009 looks tame compared with the 2017 version.‐ New York Times
Read More | Posted May 25, 2017
18% Baywatch (2017) If you enjoy the "21 Jump Street" or "Ride Along" franchises, you won't have too bad a time.‐ New York Times
Read More | Posted May 24, 2017
82% The Woman Who Left (Ang babaeng humayo) (2017) The film makes uncompromising demands on your attention and your empathy. But it is also illuminating and, in its downbeat, deliberate way, exhilarating.‐ New York Times
Read More | Posted May 18, 2017
74% Wakefield (2017) The film, scrupulously faithful to its source, is decidedly literary, but not in an especially satisfying way.‐ New York Times
Read More | Posted May 17, 2017
70% Alien: Covenant (2017) Mr. Scott is, in any case, a nearly spoiler-proof filmmaker. Even his lesser efforts are infused with enough craft and energy to keep you engaged and surprised, and "Alien: Covenant" is no exception.‐ New York Times
Read More | Posted May 17, 2017
36% Snatched (2017) It's ultimately as complacent, self-absorbed and clueless as its heroine, and not always in an especially amusing way.‐ New York Times
Read More | Posted May 10, 2017
76% A Woman's Life (Une vie) (2017) The power of Mr. Brizé's film - and of Ms. Chemla's quietly volcanic performance - lies partly in the way ordinary disasters erupt in Jeanne's life, at once challenging her passivity and emphasizing her helplessness.‐ New York Times
Read More | Posted May 4, 2017
91% A Quiet Passion (2017) Mr. Davies, whose work often blends public history and private memory, possesses a poetic sensibility perfectly suited to his subject and a deep, idiosyncratic intuition about what might have made her tick.‐ New York Times
Read More | Posted Apr 13, 2017
89% Norman (Norman: The Moderate Rise and Tragic Fall of a New York Fixer) (2017) "Norman" traces fault lines, more cultural and temperamental than ideological or religious, between the members of the diaspora (or at least the New York wing of it) and their cousins in the Promised Land.‐ New York Times
Read More | Posted Apr 13, 2017
95% Graduation (Bacalaureat) (2017) "Graduation" is long and intense, a rigorously naturalistic film that at times feels as claustrophobic and suspenseful as a horror movie.‐ New York Times
Read More | Posted Apr 6, 2017
80% Colossal (2017) "Colossal" ... wrings a great deal of fun - and also some genuine terror, by no means all of it monster-related - from its blithely bizarre conceit.‐ New York Times
Read More | Posted Apr 6, 2017
95% Karl Marx City (2017) A smart, highly personal addition to the growing syllabus of distressingly relevant cautionary political tales.‐ New York Times
Read More | Posted Mar 28, 2017
95% I Called Him Morgan (2017) This is not a lurid true-crime tale of jealousy and drug addiction, but a delicate human drama about love, ambition and the glories of music.‐ New York Times
Read More | Posted Mar 23, 2017
48% Wilson (2017) The dark, comic poignancy of the book is drowned in garish, self-conscious whimsy, and the work of a talented ensemble is squandered on awkward heartstring snatching.‐ New York Times
Read More | Posted Mar 23, 2017
No Score Yet Canners (2017) "Canners" is a testament to its director's indefatigable humanism, and to the human beings who feed it. The movie follows the money, a nickel at a time, and discovers something far more valuable.‐ New York Times
Read More | Posted Mar 9, 2017
80% Personal Shopper (2017) Without quite preparing you for it, "Personal Shopper" becomes a sneakily effective horror film, complete with a gruesome murder and Hitchcockian flourishes of menace and misdirection.‐ New York Times
Read More | Posted Mar 9, 2017