For 164 reviews, this critic has graded:
  • 40% higher than the average critic
  • 1% same as the average critic
  • 59% lower than the average critic
On average, this critic grades 1.2 points lower than other critics. (0-100 point scale)

Amy Taubin's Scores

  • Movies
Average review score: 58
Highest review score: 100 Quadrophenia (re-release)
Lowest review score: 10 The Closer You Get
Score distribution:
  1. Positive: 81 out of 164
  2. Negative: 33 out of 164
164 movie reviews
    • 41 Metascore
    • 60 Amy Taubin
    An Indiewood spoof that's more winning than anyone who wasn't a close friend of the director could possibly expect, R2PC satirizes not only wannabe auteurs but also that overworked genre, the faux documentary, while functioning as a credible study guide for Filmmaking 101.
    • 64 Metascore
    • 60 Amy Taubin
    A sympathetic but conventional disease-of-the-week movie.
    • 65 Metascore
    • 60 Amy Taubin
    I suspect that Time Code was a lot more fun to make than it is to watch.
    • 64 Metascore
    • 60 Amy Taubin
    The film belongs to Fleiss, and he makes Joe's inner life so transparent that it's heartbreaking to watch the boy dig himself into a hole.
    • 50 Metascore
    • 60 Amy Taubin
    Merendino's most innovative directorial strategy is to collapse present and past by having Lillard shout Stevo's reflections about his youthful rebellion directly at the camera, while the scene he's describing in the past tense takes place behind him. I know it sounds like a Brechtian affectation, but it works.
    • 39 Metascore
    • 60 Amy Taubin
    That Simon Birch is not as maudlin as it might have been is largely due to the intensely thoughtful, prickly performance of 11-year-old Ian Michael Smith, who plays Simon.
    • 85 Metascore
    • 60 Amy Taubin
    Seems like a TV movie. A well-written, sympathetically acted TV movie, to be sure, but so timid and clumsy in its deployment of picture, sound, and editing that you have to wonder if executive producer Martin Scorsese bothered to give notes.
    • 64 Metascore
    • 60 Amy Taubin
    Filled with people who cut Holmes more slack than he deserved.
    • 55 Metascore
    • 50 Amy Taubin
    The film is too eager to please and falls short of the novel's tragic dimension.
    • 62 Metascore
    • 50 Amy Taubin
    The most revelatory moment is provided not by the spectacle of the Roes clinging to each other on a bungee cord, but by Julian Lennon, who pops up on the beach in Monaco to give a terse evaluation of his father.
    • 66 Metascore
    • 50 Amy Taubin
    Its awkward mix of polemic and melodramatics probably won't travel very well.
    • 46 Metascore
    • 50 Amy Taubin
    Owen and Mirren are fun to watch, but the film, despite the many shots of gardens in full bloom, lacks visual distinction.
    • 46 Metascore
    • 50 Amy Taubin
    Refreshingly direct and even courageous in its confrontation of female pleasure -- specifically orgasms and masturbation, the staple of teen-boy comedies, but hitherto off-limits for girls.
    • 58 Metascore
    • 50 Amy Taubin
    Loathsome though Stepmom is, the eternally coltish Roberts is always a pleasure to watch and Sarandon's mordant wit occasionally comes to the fore.
    • 50 Metascore
    • 50 Amy Taubin
    Primary story line is clumsy and badly acted. But he (Lee) reminds you that movies have power, that they matter, and for a few brilliant moments, Bamboozled matters more than any other American movie this year.
    • 66 Metascore
    • 50 Amy Taubin
    Properly picturesque but lacks subtlety and substance in blending Chinese and Western history, ideas, and cinematic conventions.
    • 68 Metascore
    • 50 Amy Taubin
    Except for Polley and Rea, the performances are heavy-handed.
    • 42 Metascore
    • 50 Amy Taubin
    The best Elmore Leonard adaptations ("Jackie Brown," "Out of Sight") play behind the beat, and although The Big Bounce isn't top-shelf Dutch, the film finds its own pace.
    • 53 Metascore
    • 50 Amy Taubin
    It does offer Annaud the opportunity to show his directorial muscle in elaborate battle scenes, where many bodies are torn apart and blood flows freely.
    • 49 Metascore
    • 50 Amy Taubin
    Martin's performance is as impeccable as the set decoration, though one wishes he'd stop wasting his skill. Keaton flaunts her matronly hips, daring us to remember Annie Hall, but despite a jawline that's tighter than it was a decade ago in Baby Boom, she looks past the age of conception (no cosmetic surgery for wombs). [19 Dec 1995]
    • 51 Metascore
    • 40 Amy Taubin
    Garvy has worked hard to weave the interviews into an exciting narrative, but the focus is perhaps too narrow for the film to be as politically effective as it could have been.
    • 53 Metascore
    • 40 Amy Taubin
    O
    Had Nelson and Kaaya been less concerned with following Othello to the letter and rather had pursued this love affair into uncharted cinematic waters, O might have been more than an unresolved mixture of gimmickry and good intentions.
    • 39 Metascore
    • 40 Amy Taubin
    More commendable as social protest than as filmmaking.
    • 60 Metascore
    • 40 Amy Taubin
    Its exploration of faith and love is skin deep.
    • 63 Metascore
    • 40 Amy Taubin
    Schneebaum is a great subject; the film doesn't quite make the most of him.
    • 48 Metascore
    • 40 Amy Taubin
    It's a lot of plot but none of it is particularly funny or compelling. What keeps the film chugging along and also gives it a depressive aftertaste is a middle-aged male sexual anxiety subtext that intermittently sputters to the surface.
    • 37 Metascore
    • 40 Amy Taubin
    Punishing, visceral violence is the key element.
    • 55 Metascore
    • 40 Amy Taubin
    Pretty much a mess, but it also has a couple of long stretches that are extremely daring in that they reveal black family dynamics we've never seen on screen before.
    • 47 Metascore
    • 40 Amy Taubin
    Gibson has never lacked chemistry with his leading ladies, from Sigourney Weaver in "The Year of Living Dangerously" to Julia Roberts in "Conspiracy Theory," but faced with the awkward Hunt -- Hollywood's bland antidote to the Lolita syndrome -- he doesn't even try.
    • 69 Metascore
    • 40 Amy Taubin
    Little more than a cartoon, and not a funny one at that.