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A piercing satire, a poignant family drama and an investigation of the competing claims of honesty, loyalty, ambition and love.

A. O. Scott

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A. O. Scott
Age: 58
Born: 1966
Born: July 10
Film Critic
Journalist
Northampton
Massachusetts
Anthony Oliver Scott
Piercing
Ambition
Drama
Poignant
Family
Satire
Love
Investigation
Competing
Loyalty
Claims
Honesty

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Not just a timely movie, a great one...Timbuktu feels at once timely and permanent, immediate and essential.
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AN ABSOLUTELY VITAL FILM. Exacting, enraging and revelatory. A clear, temperate and devastating account of high level arrogance and incompetence.
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Campaign may invite a certain skepticism about democracy, but it will surely restore your faith in cinema verite.
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War of the Worlds is rated PG-13. Much of the earth's population is wiped out, leaving very little time for sex or bad language.
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The camera has an uncanny ability to capture the world as it is, to seize events as they happen, and also to conjure visions of the future. But by the time the image reaches the eyes of the viewer, it belongs to the past, taking on the status of something retrieved.
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STARTLING & INVENTIVE...This is not a movie that lets go of you easily.
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Pearl Harbor is strenuously respectful of contemporary sensitivities, sometimes at the cost of accuracy.
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Recently, I took my son to see The Haunted Mansion, which was one of the worst things (I hesitate even to call it a movie) that I have ever seen. He thought it was better than Finding Nemo and we had a fruitless argument which I'm sure made him acutely aware of the disadvantages of having a film critic for a dad.
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STORIES WE TELL is one of the boldest and most exciting films I’ve seen in the last six months, and the kind of experience that has the power to alter your perception of the world.
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Subtle, funny and touching, with a striking downbeat authenticity. Director Craig Zobel is the real thing.
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The musical performances do more than enrich the movie they complete it.
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We have reached a strange new place in marketing when tweets become full-page print ads.
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Those reliable axioms about the taste and expectations of the mass movie audience are not so much laws of nature as artifacts of corporate strategy. And the lessons derived from them conveniently serve to strengthen a status quo that increasingly marginalizes risk, originality and intelligence.
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ADMIRABLY BOLD. There's something grand about the film's sincerity and the intensity of its emotions and something fresh and bold about the way director Gray uses the conventions of romantic melodrama.
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Tiny as a sparrow, fierce as an eagle, Lisbeth Salander is one of the great Scandinavian avengers of our time, an angry bird catapulting into the fortresses of power and wiping smiles off the faces of smug, predatory pigs.
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I can't decide if this movie is so spectacularly, breathtakingly dumb as to induce stupidity in anyone who watches, or so brutally brilliant that it disarms all reason. What's the difference?
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Every art form changes, often at rates and in ways that cause discomfort to its devotees. But the arts also have a remarkable ability to withstand and absorb those changes, and to prove wrong the prophecies of their demise.
A. O. Scott