The Critic's Lens
An in-depth exploration of Anthony Oliver Scott, the influential American film and literary critic, his profound insights, and his enduring impact on cultural discourse.
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Introduction
A Voice in American Criticism
Anthony Oliver Scott, widely known as A.O. Scott, stands as a prominent American journalist and cultural critic. His career, spanning over three decades, has been marked by incisive film and literary criticism, primarily for *The New York Times*. Scott's work is characterized by its intellectual rigor, broad cultural awareness, and a distinctive voice that has shaped public discourse on cinema and literature for a generation.[1]
From Film to Literature
Scott commenced his influential tenure as a film critic for *The New York Times* in 2000, ascending to the role of chief film critic in 2004, a position he shared with Manohla Dargis.[1] His critical gaze, however, was not confined to the cinematic realm. In 2023, Scott transitioned to *The New York Times Book Review*, signaling a return to his roots in literary criticism and a broadening of his critical scope.[12]
Beyond the Review
Beyond his prolific output of reviews, Scott has contributed significantly to cultural commentary through various platforms. He is the author of *Better Living Through Criticism* (2016), a work that delves into the nature and necessity of critical engagement.[10] His career also includes notable television appearances and a period as a professor of film criticism, underscoring his multifaceted contribution to the intellectual landscape.[17]
Early Life & Education
Roots in Academia
Anthony Oliver Scott was born on July 10, 1966, in Northampton, Massachusetts.[1] His upbringing was deeply embedded in an academic environment, with both parents holding professorial positions. His mother, Joan Wallach Scott, is a distinguished Harold F. Linder Professor at the School of Social Science within the Institute for Advanced Study in Princeton, New Jersey.[2] His father, Donald Scott, was a professor of American history at the City University of New York.[3] This intellectual lineage undoubtedly fostered his analytical mind and passion for cultural discourse.
Harvard and Beyond
Scott received his early education in public schools in Providence, Rhode Island, including Classical High School. He later matriculated at Harvard College, graduating *magna cum laude* in 1988 with a Bachelor of Arts degree in literature.[5] He pursued further graduate studies at Johns Hopkins University for a Master's degree but ultimately left before completing his program.[1]
Parisian Cinematic Awakening
A pivotal experience in Scott's formative years, which he retrospectively identifies as a decisive moment towards his path in film criticism, occurred at the age of 15. During a several-month stay in Paris with his mother, he found himself with ample free time. He recounts gravitating towards the independent movie theaters scattered across the Left Bank, where he would frequently watch old American films. This immersion in cinema, a solitary exploration of the city's film culture, profoundly shaped his burgeoning critical sensibility.[5]
Print Career
Early Journalistic Endeavors
Scott's professional journey began at *The New York Review of Books*, where he served as an assistant to the esteemed editor Robert B. Silvers.[6] This foundational experience was followed by a role as a book critic for *Newsday*, while simultaneously contributing to *The New York Review of Books* and *Slate*. His early work also included television reviews for *Variety* in 1993, where he used the byline "Tony Scott."[7]
The New York Times Era
In January 2000, Scott joined the Arts section of *The New York Times* as a film critic, succeeding Janet Maslin. By 2004, he had risen to the prestigious position of chief film critic, a role he shared with Manohla Dargis.[1] His tenure at the *Times* coincided with a vibrant period in cinema, particularly the "indie boom" of the 1990s, which saw independent American filmmakers gaining mainstream recognition. Scott viewed his mission at the *Times* as connecting diverse audiences with films, encouraging readers to take chances on movies they might not typically consider.[5]
Authorial Contributions
Beyond his daily reviews, Scott authored *Better Living Through Criticism* in 2016, a significant contribution to the discourse on the role and value of criticism in contemporary culture.[10] In 2017, he collaborated with Manohla Dargis to compile a list of "The 25 Best Films of the 21st Century So Far," offering a curated perspective on modern cinematic achievements.[11] In March 2023, Scott transitioned from film criticism to *The New York Times Book Review*, embarking on a new chapter in his distinguished career.[12]
Television & Academia
On-Screen Commentary
A.O. Scott's expertise extended beyond print, making him a recognizable face in television commentary on film. He served as a guest critic on *Ebert & Roeper* in 2006 and 2007 during Roger Ebert's absence.[14] From 2002 to 2014, Scott made 15 appearances on *Charlie Rose*, frequently predicting Academy Award winners and discussing new releases, often alongside fellow critics David Denby and Janet Maslin. He also occasionally guest-hosted the program.[15]
Co-Hosting 'At the Movies'
In a significant move, Scott was announced as a co-host of *At the Movies* alongside *Chicago Tribune* critic Michael Phillips on August 5, 2009.[14] Their tenure began on September 5, 2009, but the show was unfortunately canceled after one season in August 2010 due to low ratings.[16] Despite the show's short run, it marked a notable period of Scott's direct engagement with a broader television audience.
Academic Contributions
Beyond his journalistic and media roles, Scott also contributed to film education. He held a position as a professor of film criticism at Wesleyan University.[17] This academic role allowed him to impart his deep understanding of cinema and critical theory to a new generation of students, further cementing his influence in the field. As of 2023, he is no longer listed on the faculty at Wesleyan.[18]
Critical Philosophy
The Power of Cinema
A.O. Scott possesses a profound appreciation for the transformative power of movies. He describes cinema as integral to his "dream life and worldly education," capable of conjuring intense emotions, inventing new worlds, and disclosing unsuspected truths about our own reality. He particularly cherishes movies' ability to "obliterate reason and abolish taste," highlighting the visceral and often inexplicable impact they have on an audience, from jump scares to helpless laughter and unbidden tears.[13]
Critique of Fan Culture
While deeply passionate about film, Scott has expressed significant reservations about modern fan culture. He views the behavior of social media "hordes" as representing an "anti-democratic, anti-intellectual mind-set" that is detrimental to artistic expression and antithetical to the true spirit of movies. For Scott, fan culture, with its emphasis on conformity, obedience, group identity, and mob behavior, mirrors and models the spread of intolerant and authoritarian tendencies observed in broader political and communal life.[13]
Evolution of Criticism
Scott's decision to depart from film criticism in 2023 was partly influenced by a perceived "disconnection between the critic and the audience" that felt increasingly pronounced. He noted that the practice of criticism, as he had known it, had become more challenging. This reflection underscores a broader shift in the media landscape and the evolving relationship between critics and their readership in the digital age, prompting his move to the literary sphere.[5]
Critical Preferences
Enduring Favorites
In a 2009 discussion with Rotten Tomatoes, A.O. Scott articulated a selection of his five most cherished films, offering a glimpse into the cinematic works that have left a lasting impression on his critical sensibility. These films represent a diverse array of styles and eras, reflecting a connoisseur's appreciation for the art form's breadth and depth.
Annual Best of Lists
From 2000 to 2022, A.O. Scott meticulously compiled an annual list of his top films, providing a consistent overview of his critical preferences and the cinematic landscape of each year. These lists serve as a valuable resource for understanding his evolving tastes and the films he deemed most significant and impactful during his tenure as a chief film critic.
Television Appearances
A Public Intellectual
A.O. Scott's presence on television extended his critical reach, allowing him to engage with a broader public on matters of film and culture. His appearances ranged from guest critic roles to co-hosting duties, solidifying his status as a public intellectual in the arts. The following table details a selection of his notable television and film appearances, showcasing the breadth of his media engagement.
Personal Life
Family and Heritage
A.O. Scott is married to Justine Henning, and together they have two children, forming a core part of his personal life amidst his demanding professional career.[1][28] His family also includes notable relatives in the arts; he is a great-nephew of the acclaimed married acting couple Eli Wallach and Anne Jackson, through his maternal grandfather, who was Eli Wallach's brother.[4] Scott identifies as Jewish, a facet of his heritage that he has occasionally touched upon in his writings.[30]
Pulitzer Recognition
In recognition of his exceptional contributions to the field of criticism, A.O. Scott was named a finalist for the prestigious 2010 Pulitzer Prize for Criticism. The citation lauded his "incisive film reviews that, with aplomb, embrace a wide spectrum of movies and often explore their connection to larger issues in society or the arts."[29] This acknowledgment underscores the significant impact and intellectual depth of his work, placing him among the most respected voices in American cultural commentary.
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References
References
- Wesleyan University Website as of 5 November 2023
- The Pulitzer Prizes
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Important Notice
This page was generated by an Artificial Intelligence and is intended for informational and educational purposes only. The content is based on a snapshot of publicly available data from Wikipedia and may not be entirely accurate, complete, or up-to-date.
This is not professional advice. The information provided on this website is not a substitute for professional journalistic analysis, academic research, or expert consultation on film and literary criticism. Always refer to primary sources, academic journals, and reputable news organizations for comprehensive and verified information. Never disregard professional insights because of something you have read on this website.
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