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
100% Birdboy: The Forgotten Children (Psiconautas, los niños olvidados) (2017) The simple precision of the hand-drawn characters and of the watercolor world they inhabit provide visual coherence and establish an atmosphere of fascination as well as dread. The movie is an anthology of nightmares compressed into a picture book.‐ New York Times
Read More | Posted Dec 14, 2017
5% Just Getting Started (2017) This wheezy romantic caper ... inspires little more than melancholy reminiscences of Mr. Shelton's earlier work.‐ New York Times
Read More | Posted Dec 11, 2017
100% Quest (2017) I've rarely seen a movie about citizenship as quietly eloquent as "Quest."‐ New York Times
Read More | Posted Dec 7, 2017
94% The Shape of Water (2017) "The Shape of Water" is partly a code-scrambled fairy tale, partly a genetically modified monster movie, and altogether wonderful.‐ New York Times
Read More | Posted Nov 30, 2017
91% The Other Side of Hope (Toivon tuolla puolen) (2017) It's at once honest and artful, a touching and clearsighted declaration of faith in people and in movies.‐ New York Times
Read More | Posted Nov 30, 2017
84% Darkest Hour (2017) "Darkest Hour" is proud of its hero, proud of itself and proud to have come down on the right side of history nearly 80 years after the fact. It wants you to share that pride, and to claim a share of it. But we have nothing to be proud of.‐ New York Times
Read More | Posted Nov 21, 2017
97% Coco (2017) If "Coco" doesn't quite reach the highest level of Pixar masterpieces, it plays a time-tested tune with captivating originality and flair, and with roving, playful pop-culture erudition.‐ New York Times
Read More | Posted Nov 21, 2017
97% Mudbound (2017) It's a work of historical imagination that lands in the present with disquieting, illuminating force.‐ New York Times
Read More | Posted Nov 16, 2017
94% On the Beach at Night Alone (Bamui haebyun-eoseo honja) (2017) "On the Beach" feels more raw and personal than some of Mr. Hong's other work.‐ New York Times
Read More | Posted Nov 16, 2017
92% A Fantastic Woman (Una mujer fantástica) (2018) The title of Sebastián Lelio's new film might seem a bit on the nose. It's a fantastic movie. Daniela Vega, the star, is fantastic in it. Quote me in the ads, with exclamation points if you must. My work here is done.‐ New York Times
Read More | Posted Nov 15, 2017
73% Last Flag Flying (2017) Even if "Last Flag Flying" isn't quite persuasive, it is nonetheless enormously thought-provoking, and its roughness is a sign of how earnestly it grapples with matters that other movies about war prefer not to think about.‐ New York Times
Read More | Posted Nov 2, 2017
99% Lady Bird (2017) If you pay the right kind of attention to "Lady Bird" - absorbing its riffs and digressions as well as its melodies, its choral passages along with its solos and duets - you will almost certainly love it. It's hard not to.‐ New York Times
Read More | Posted Oct 31, 2017
81% The Square (2017) "The Square" is ultimately a long version of Christian's rambling apology, ostentatiously smart, maybe too much so for its own good, but ultimately complacent, craven and clueless.‐ New York Times
Read More | Posted Oct 26, 2017
87% Novitiate (2017) Ms. Betts refrains from easy, uplifting answers and facile condemnations of organized religion.‐ New York Times
Read More | Posted Oct 26, 2017
13% Geostorm (2017) "Geostorm" uses digital technology to lay waste to a bunch of cities and hacky screenwriting to assault the dignity of several fine actors.‐ New York Times
Read More | Posted Oct 20, 2017
99% BPM (Beats Per Minute) (120 battements par minute) (2017) In spite of its historical specificity, "BPM" never feels like a bulletin from the past. Its immediacy comes in part from the brisk naturalism of the performances and the nimbleness and fluidity of the editing.‐ New York Times
Read More | Posted Oct 19, 2017
79% The Killing of a Sacred Deer (2017) You will suffer in vain.‐ New York Times
Read More | Posted Oct 19, 2017
95% The Florida Project (2017) To balance joy and desperation as gracefully as Mr. Baker does - to interweave giddiness and heartbreak - is no easy feat.‐ New York Times
Read More | Posted Oct 5, 2017
100% Faces Places (Visages, villages) (2017) The film works just fine as an anthology of amiable encounters and improvised collaborations. But it's a lot more than that.‐ New York Times
Read More | Posted Oct 5, 2017
87% Blade Runner 2049 (2017) There is a something to think about here, a fair amount to feel and even more to see.‐ New York Times
Read More | Posted Oct 2, 2017
33% Mark Felt: The Man Who Brought Down the White House (2017) Even for die-hard Watergate nerds, the movie can be a tough slog.‐ New York Times
Read More | Posted Sep 28, 2017
91% Our Souls at Night (2017) Luckily, the stars have humanity to spare, and very little left to prove.‐ New York Times
Read More | Posted Sep 27, 2017
82% 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
54% 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
34% 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
68% 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
75% 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
85% 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
46% 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
77% 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
82% 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
40% 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
86% 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
91% Good Time (2017) It's stale, empty and cold.‐ New York Times
Read More | Posted Aug 10, 2017
49% 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
83% 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
85% 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
49% 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
90% 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
78% 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
86% 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
41% 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