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A. O. Scott

United States

Moving On (2022)

Publish Date: March 16, 2023
"'Moving On' takes refuge in pleasantness, and in the easy charm of its stars. Who are consistently enjoyable to watch. Which might be the problem"

The New York Times
65 (2023)

Publish Date: March 9, 2023
"Like Mills’s emotional back story, the special effects seem to have been pulled out of a box of secondhand ideas. Nor is the execution all that impressive. There’s little in the way of awe, suspense or surprise"

The New York Times
Dancing the Twist in Bamako (2021)

Publish Date: February 23, 2023
"The cast is... dynamic and sincere in a way that gives the drama a buoyant teen-movie spirit even as it takes a grave turn. It's affecting, but also a bit glib"

The New York Times
Pacifiction (2022)

Publish Date: February 16, 2023
"A feverish and haunting but also wry and meditative rumination on power, secrecy and the color of clouds over water at sunset"

The New York Times
Marlowe (2022)

Publish Date: February 14, 2023
"'Marlowe' neither dutifully copies nor cleverly updates detective-movie tropes"

The New York Times
All That Breathes (2022)

Publish Date: October 20, 2022
"A subtle, haunting reflection on the meaning of humanity —on the breathtaking kindness and heartbreaking cruelty that define our wounded, intrepid, predatory species"

The New York Times
Dead for A Dollar (2022)

Publish Date: September 29, 2022
"Hill had a job to do. He did it"

The New York Times
My Imaginary Country (2022)

Publish Date: September 22, 2022
"While this is a first-person documentary, with the director providing voice-over narration, it expresses a poignant humility and a patient willingness to listen"

The New York Times
Nope (2022)

Publish Date: July 20, 2022
"There are some fascinating internal tensions within the movie, along with impeccably managed suspense, sharp jokes and a beguiling, unnerving atmosphere of all-around weirdness"

The New York Times
Hallelujah: Leonard Cohen, A Journey, A Song (2021)

Publish Date: June 30, 2022
"The documentary's account of the song's fate is a fascinating study in the mechanics and metaphysics of pop-culture memory"

The New York Times
X (2022)

Publish Date: March 17, 2022
"A clever and exuberant throwback to a less innocent time, when movies could be naughty, disreputable and idiosyncratic. Two kinds of movie in particular: the dirty kind and the scary kind"

The New York Times
Fear (2020)

Publish Date: March 10, 2022
"The faces feel as lived-in as the landscape (...) [Bamba] is the catalyst for the film’s actions and reactions, but at the same time 'Fear' doesn’t quite know what to make of him."

The New York Times
Mr Bachmann and His Class (2021)

Publish Date: February 21, 2022
"Even at more than three and a half hours, the fly-on-the-wall documentary Speth has culled from her time in the classroom is the opposite of tedious"

The New York Times
Dog (2022)

Publish Date: February 17, 2022
"'Dog' is unabashedly sentimental (...) Luckily, Tatum’s self-deprecating charm and Carolin’s script keep the story on the tolerable side of maudlin."

The New York Times
Introduction (2021)

Publish Date: January 20, 2022
"'Introduction' is both lucid and elusive (...) But like his film from last year 'The Woman Who Ran,' it strikes me as more of a deep cut for devotees"

The New York Times
The Tragedy of Macbeth (2021)

Publish Date: December 22, 2021
"There is no comfort in Coen’s vision, but his rigor — and Washington’s vigor — are never less than exhilarating."

The New York Times
West Side Story (2021)

Publish Date: December 8, 2021
"[This] version reaffirms its indelible appeal while making it feel bold, surprising and new."

The New York Times
Flee (2021)

Publish Date: December 2, 2021
"The film is both probing and tactful (...) The animation suffuses 'Flee' with a strangeness that a conventional documentary might not possess"

The New York Times
King Richard (2021)

Publish Date: November 18, 2021
"In the best Hollywood tradition, 'King Richard' stirs up a lot of emotion while remaining buoyant and engaging. It’s serious but rarely heavy."

The New York Times
Spencer (2021)

Publish Date: November 4, 2021
"Stewart leverages her own star power to turn Diana into someone familiar."

The New York Times

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