A.O. Scott

A.O. Scott
Tomatometer-approved critic

Movie Reviews Only

T-Meter Title | Year
52% The Dead Don't Die (2019) This is an end-of-the-world party with an appealing guest list and inviting, eccentric décor. - New York Times EDIT
Read More | Posted Jun 13, 2019
35% Shaft (2019) Whether you take this iteration of the character as an affectionate throwback or a cringe-worthy anachronism, it's hard to watch "Shaft" without feeling a little wistful. - New York Times EDIT
Read More | Posted Jun 13, 2019
85% The Raft (2019) The picture that emerges decades later is of a moody, manipulative Svengali, blinded by his ego to what was really happening on the raft. - New York Times EDIT
Read More | Posted Jun 6, 2019
81% Late Night (2019) Rather than scourging the complacency and hypocrisy of television, it subjects the medium to a vigorous exfoliating scrub in the name of feminism and inclusiveness. - New York Times EDIT
Read More | Posted Jun 5, 2019
98% Too Late to Die Young (Tarde para morir joven) (2019) Sotomayor approaches her characters and their problems with subtlety and tact, and is more interested in reading their glances and gestures than in putting words in their mouths. - New York Times EDIT
Read More | Posted May 30, 2019
56% Ma (2019) The movie ties itself up in knots as it tries to be provocative without giving offense, and offering more complacency and comfort than terror. - New York Times EDIT
Read More | Posted May 29, 2019
89% Rocketman (2019) The point of "Rocketman" isn't self-aggrandizement. It's fan service of an especially and characteristically generous kind. - New York Times EDIT
Read More | Posted May 28, 2019
57% Brightburn (2019) What makes "Brightburn" a little better than average is the time it spends observing Brandon with Tori and Kyle, his loving, increasingly alarmed mom and dad, who are played with excellent game faces by Elizabeth Banks and David Denman. - New York Times EDIT
Read More | Posted May 23, 2019
97% Booksmart (2019) "Booksmart" is sharp but not mean, warm without feeling too soft or timid. - New York Times EDIT
Read More | Posted May 23, 2019
57% Aladdin (2019) The movie itself, while not entirely terrible - a lot of craft has been purchased, and even a little art - is pointless in a particularly aggressive way. - New York Times EDIT
Read More | Posted May 22, 2019
90% The Souvenir (2019) "The Souvenir" feels like a whispered confidence, an intimate disclosure that shouldn't be betrayed because it isn't really yours. - New York Times EDIT
Read More | Posted May 16, 2019
100% The Wandering Soap Opera (La Telenovela Errante) (2019) It was clearly made with slender financial means and abundant enthusiasm, and it functions simultaneously as a critique of the self-serious idiocy of authority and a celebration of the anarchic power of imagination. - New York Times EDIT
Read More | Posted May 15, 2019
47% The Sun Is Also a Star (2019) They are so appealing - I mean, his last name is Bae, and she never makes a joke about it - that you will totally believe that he is a budding poet and that her thing is astronomy. - New York Times EDIT
Read More | Posted May 15, 2019
86% The Third Wife (2019) The movie is... trapped in the same claustrophobia it depicts, unsure of how much it can or wants to get away with. - New York Times EDIT
Read More | Posted May 14, 2019
15% The Hustle (2019) Comedy is in a weird place right now, and "The Hustle" deserves some credit for fulfilling its own modest, escapist ambitions. - New York Times EDIT
Read More | Posted May 9, 2019
75% Pasolini (2019) As exquisitely detailed and historically accurate as many of its scenes are, "Pasolini" is less concerned with the realistic reconstruction of the past than with communicating a mood in the present. - New York Times EDIT
Read More | Posted May 9, 2019
31% The Intruder (2019) There isn't a lot going on here. - New York Times EDIT
Read More | Posted May 2, 2019
89% Non-Fiction (2019) Either this is a comedy of adultery disguised as a meditation on the future of civilization, or the reverse. It's pretty good fun either way... - New York Times EDIT
Read More | Posted May 1, 2019
93% Be Natural: The Untold Story of Alice Guy-Blaché (2019) By the end of "Be Natural," you won't only have a clear idea of who this remarkable woman was; you may well have acquired a new taste in old movies. - New York Times EDIT
Read More | Posted Apr 25, 2019
94% Avengers: Endgame (2019) At its best - and "Endgame" is in some ways as good as it gets - the "Avengers" cosmos has been an expansive and inclusive place. - New York Times EDIT
Read More | Posted Apr 23, 2019
63% The Man Who Killed Don Quixote (2019) The story doesn't follow Cervantes in every detail, but there is no mistaking Gilliam's deep appreciation of the book. "The Man Who Killed Don Quixote" works best as an exuberant, not always disciplined work of critical appropriation. - New York Times EDIT
Read More | Posted Apr 18, 2019
55% Under the Silver Lake (2019) "Under the Silver Lake" is less a cinematic folly than a category mistake, taking the sterility of its own imaginative conceits for a metaphysical condition. - New York Times EDIT
Read More | Posted Apr 17, 2019
95% Custody (Jusqu'à la garde) (2018) 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. - New York Times EDIT
Read More | Posted Apr 17, 2019
46% Little (2019) If the story is a mess, the performers... save the day and the protect the investment. - New York Times EDIT
Read More | Posted Apr 10, 2019
84% Her Smell (2019) Moss varies the volume and the tempo of her performance, calling forth cascades of profane invention and rills of whispery poetry, but she always stays in the same key, the key of Becky. - New York Times EDIT
Read More | Posted Apr 10, 2019
64% Peterloo (2019) [A] brilliant and demanding film... - New York Times EDIT
Read More | Posted Apr 4, 2019
53% The Best of Enemies (2019) The political moral of the movie is that change happens when the oppressed are nice to their oppressors. - New York Times EDIT
Read More | Posted Apr 3, 2019
82% The Brink (2019) "The Brink" is movie that people who hate Bannon may embrace - they are surely the intended audience - but that doesn't mean Bannon himself will hate it. It both exposes and flatters his vanity. - New York Times EDIT
Read More | Posted Mar 28, 2019
55% The Beach Bum (2019) What "The Beach Bum" celebrates as transgression is pure tedium. What it takes for divine lunacy is frat house doggerel. - New York Times EDIT
Read More | Posted Mar 27, 2019
57% The Highwaymen (2019) This isn't an especially good movie... but it is a coherent one, with the courage of its vengeful, murderous, politically terrifying convictions. - New York Times EDIT
Read More | Posted Mar 14, 2019
98% Ash Is Purest White (2019) The film as a whole is too rich with incident and surprise to be bleak. Jia has always had a sly sense of comedy, and an appreciation of spectacle. - New York Times EDIT
Read More | Posted Mar 13, 2019
95% An Elephant Sitting Still (Da xiang xi di er zuo) (2019) An act of solemn, disciplined and passionate protest. - New York Times EDIT
Read More | Posted Mar 6, 2019
78% Captain Marvel (2019) It's not too long, not too self-important, and benefits from the craft and talent of a cast that includes Annette Bening, Jude Law and Ben Mendelsohn. - New York Times EDIT
Read More | Posted Mar 5, 2019
78% Everybody Knows (Todos lo saben) (2019) Farhadi is an excellent screenwriter and an impressive handler of actors, but the film nonetheless adds up to less than the sum of its parts. - New York Times EDIT
Read More | Posted Mar 4, 2019
12% Tyler Perry's A Madea Family Funeral (2019) What Perry lacks in filmmaking rigor - like its predecessors, "Family Funeral" is a bit of a mess, formally and technically - he makes up for in generosity. - New York Times EDIT
Read More | Posted Mar 1, 2019
71% Climax (2019) Noé may be a better technician than a thinker. And like most parties that go on too long and spin out of control, this one gets boring after a while. - New York Times EDIT
Read More | Posted Feb 28, 2019
60% Greta (2019) While the movie is impossible to take seriously, it's also hard to resist, like an unattended bag on the subway that's just begging you to look inside. - New York Times EDIT
Read More | Posted Feb 26, 2019
81% Ruben Brandt, Collector (2019) The story never fully lives up to the ideas, and the ideas themselves are fuzzy and scattered. - New York Times EDIT
Read More | Posted Feb 13, 2019
95% Birds of Passage (Pájaros de verano) (2019) The ease and charisma of the performers, trained and nonprofessional actors alike, heighten the emotional impact. - New York Times EDIT
Read More | Posted Feb 12, 2019
92% High Flying Bird (2019) It uses the charisma of athletes and the competitive energy of the game they play to catalyze a feisty, twisty fable of labor and capital in the 21st century. - New York Times EDIT
Read More | Posted Feb 7, 2019
69% Cold Pursuit (2019) The thirst for revenge, in movies as in life, almost necessarily involves the dehumanization of its target. And if the movie itself is best taken as a joke, it's a very bad dad joke. - New York Times EDIT
Read More | Posted Feb 5, 2019
22% Miss Bala (2019) Gloria... is basically in the wrong place at the wrong time, something that might be said for everyone involved with this movie, audience included. - New York Times EDIT
Read More | Posted Jan 31, 2019
94% The Wild Pear Tree (Ahlat agaci) (2019) The unapologetic, sometimes heavy-handed literariness of "The Wild Pear Tree" is leavened by hints of grim comedy and sharp, if subtle, social criticism. - New York Times EDIT
Read More | Posted Jan 29, 2019
93% The Favourite (2018) Weisz and Stone are both brilliantly witty and nimble, but Colman's performance is nothing short of sublime. - New York Times EDIT
Read More | Posted Jan 24, 2019
77% Never Look Away (2019) Even when it stumbles, it remains watchable and engaging, partly because von Donnersmarck possesses an old-fashioned Hollywood showman's sensibility. - New York Times EDIT
Read More | Posted Jan 24, 2019
88% The Image Book (Le livre d'image) (2019) I found it haunting, thrilling and confounding in equal measure. - New York Times EDIT
Read More | Posted Jan 23, 2019
97% The Heiresses (Las Herederas) (2019) "The Heiresses" almost subliminally alerts you to complexities of sexuality and status that many films would prefer to simplify. It also draws you into a social milieu that is both highly specific and intuitively accessible. - New York Times EDIT
Read More | Posted Jan 15, 2019
57% Touch Me Not (2019) A curiously intense, weirdly tranquil experience, at times hard to watch and then hard to shake. - New York Times EDIT
Read More | Posted Jan 10, 2019
73% On the Basis of Sex (2019) Historical narratives are best when they pique curiosity as well as satisfy it, and this one is too conscientious to proclaim its own comprehensiveness. - New York Times EDIT
Read More | Posted Dec 24, 2018
33% Welcome to Marwen (2018) There is not much in this movie that feels authentic or fully realized, but its very strangeness makes it hard to forget or dismiss. - New York Times EDIT
Read More | Posted Dec 20, 2018