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
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
74% 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
76% 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
87% 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
15% 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
82% 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
55% 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
19% 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
71% 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
74% 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
93% 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
97% 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
46% 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
79% 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
71% Beauty and the Beast (2017) Its classicism feels unforced and fresh. Its romance neither winks nor panders. It looks good, moves gracefully and leaves a clean and invigorating aftertaste. I almost didn't recognize the flavor: I think the name for it is joy.‐ New York Times
Read More | Posted Mar 3, 2017
67% Before I Fall (2017) "Before I Fall" is tactful rather than maudlin, tasteful rather than lurid, soothing rather than creepy. None of that is good news.‐ New York Times
Read More | Posted Mar 2, 2017
84% The Girl With All the Gifts (2017) "The Girl With All the Gifts" doesn't really venture into new territory, but it does a decent job of reminding us why zombies are so scary, and so interesting.‐ New York Times
Read More | Posted Feb 23, 2017
100% My Life as a Zucchini (Ma vie de courgette) (2017) The animation technique is in some ways cruder than the digital dazzle that kids see all the time, but also more soulful.‐ New York Times
Read More | Posted Feb 23, 2017
27% Fist Fight (2017) It did give me something I needed. Not catharsis or uplift but a bracing dose of profane, sloppy, reasonably well-directed hostility. We take what we can get.‐ New York Times
Read More | Posted Feb 16, 2017
42% A Cure For Wellness (2017) "A Cure for Wellness" is a lustrous box of genre candy, the self-revealing work of an auteur who has laid bare not so much his psyche as his online streaming queue.‐ New York Times
Read More | Posted Feb 16, 2017
100% 2017 Oscar Nominated Shorts: Documentary (2017) Like the nominees in the feature-length best documentary category, the five films in this group demonstrate a commitment to both relevance and experimentation.‐ New York Times
Read More | Posted Feb 9, 2017
100% 2017 Oscar Nominated Shorts: Animation (2017) The animated nominees include handmade as well as digital productions, and dark, adult themes as well as child-friendly charm and whimsy.‐ New York Times
Read More | Posted Feb 9, 2017
88% Land of Mine (Under Sandet) (2017) A tight and suspenseful film ...‐ New York Times
Read More | Posted Feb 9, 2017
100% 2017 Oscar Nominated Short Films (2017) Even in a generally strong year like this one, the shorts display a cosmopolitan breadth and a stylistic variety that the other categories often lack.‐ New York Times
Read More | Posted Feb 8, 2017
98% I Am Not Your Negro (2017) You would be hard-pressed to find a movie that speaks to the present moment with greater clarity and force, insisting on uncomfortable truths and drawing stark lessons from the shadows of history.‐ New York Times
Read More | Posted Feb 2, 2017
84% The Lure (Córki dancingu) (2017) Holding it all together is an exploration - always intriguing if not always coherent - of the myths and puzzles of female sexuality.‐ New York Times
Read More | Posted Jan 31, 2017
97% The Salesman (Forushande) (2017) With exquisite patience and attention to detail, Asghar Farhadi, the writer and director, builds a solid and suspenseful plot out of ordinary incidents, and packs it with rich and resonant ideas.‐ New York Times
Read More | Posted Jan 26, 2017
43% Gold (2017) "Gold" could have been a biting satire of greed and folly, a neo-Conradian tale of Western misadventure in Asia, a rousing fable of underdog triumph or a caper comedy. It tries, in its frantic, clumsy fashion, to be all of those things ...‐ New York Times
Read More | Posted Jan 26, 2017
75% Split (2017) "Split" is lurid and ludicrous, and sometimes more than a little icky in its prurient, maudlin interest in the abuse of children. It's also absorbing and sometimes slyly funny.‐ New York Times
Read More | Posted Jan 19, 2017
94% The Red Turtle (La tortue rouge) (2017) "The Red Turtle" practices a minor, gentle magic. It wants you to smile and say, "Ahh," rather than gasp and say, "Wow."‐ New York Times
Read More | Posted Jan 19, 2017
71% Staying Vertical (Rester vertical) (2017) "Being Vertical" ... has a rough gravity that holds your attention and sticks in your mind.‐ New York Times
Read More | Posted Jan 19, 2017
21% Sleepless (2017) We get muttering and glowering from Mr. Foxx, a story that can't manage enough twists to tie a shoelace, and set pieces that have been done better in other movies.‐ New York Times
Read More | Posted Jan 13, 2017
54% The Ardennes (D'Ardennen) (2017) Even though, in retrospect, "The Ardennes" feels a little obvious and secondhand, it unfolds with enough speed and wit to hold your attention.‐ New York Times
Read More | Posted Jan 5, 2017
92% Toni Erdmann (2016) A thrilling act of defiance against the toxicity of doing what is expected, on film, at work and out in the world.‐ New York Times
Read More | Posted Dec 22, 2016
93% Hidden Figures (2017) There is something to be said for a well-told tale with a clear moral and a satisfying emotional payoff.‐ New York Times
Read More | Posted Dec 22, 2016
83% Julieta (2016) "Julieta" is scrupulous, compassionate and surprising, even if it does not always quite communicate the full gravity and sweep of the feelings it engages.‐ New York Times
Read More | Posted Dec 20, 2016
94% Neruda (2016) For anyone who believes that poetry and democracy spring from the same source and provoke the same enemies, this movie provides both encouragement and warning.‐ New York Times
Read More | Posted Dec 15, 2016
93% Fences (2016) Even as it properly foregrounds Wilson's dialogue - few playwrights have approached his genius for turning workaday vernacular into poetry - "Fences" is much more than a filmed reading.‐ New York Times
Read More | Posted Dec 15, 2016
85% Rogue One: A Star Wars Story (2016) All the pieces are there ... like Lego figures in a box. The problem is that the filmmakers haven't really bothered to think of anything very interesting to do with them.‐ New York Times
Read More | Posted Dec 13, 2016
83% Lost And Beautiful (Bella e Perduta) (2016) Part documentary, part beast fable, Pietro Marcello's "Lost and Beautiful" is a loving act of cultural preservation.‐ New York Times
Read More | Posted Dec 8, 2016