Charles Taylor

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For 370 reviews, this critic has graded:
  • 34% higher than the average critic
  • 2% same as the average critic
  • 64% lower than the average critic
On average, this critic grades 9.1 points lower than other critics. (0-100 point scale)

Charles Taylor's Scores

  • Movies
  • TV
Average review score: 53
Highest review score: 100 Some Like It Hot
Lowest review score: 0 Speed 2: Cruise Control
Score distribution:
  1. Negative: 96 out of 370
370 movie reviews
    • 64 Metascore
    • 60 Charles Taylor
    Director Michael Apted does a smooth, competent job, but like almost all his work, Enigma lacks excitement and a vivid personality.
    • 50 Metascore
    • 60 Charles Taylor
    Lean, fast and undeniably entertaining.
    • 68 Metascore
    • 60 Charles Taylor
    Millions of people read Harr's gripping bestseller, but Steven Zaillian may be the only one who didn't understand it.
    • 84 Metascore
    • 60 Charles Taylor
    Calle 54 doesn't have that coherence or vision of the "Buena Vista Social Club."
    • 41 Metascore
    • 60 Charles Taylor
    Warchus seems as at ease with the complexity of the style as he is with directing actors.
    • 42 Metascore
    • 60 Charles Taylor
    The Time Machine is, for the most part, a handsome, pleasant entertainment.
    • 70 Metascore
    • 60 Charles Taylor
    A slack, tepid picture stuck in a no man's land between satire and drama.
    • 64 Metascore
    • 60 Charles Taylor
    Obviously influenced by the style of Robert Altman's multi-character extravaganzas, Robbins has seized on this incident as the centerpiece in a carnival about the conflicts among art, politics and commerce.
    • 69 Metascore
    • 60 Charles Taylor
    The type of comedy the Farrellys love requires dizzy, pell-mell pacing. If There's Something About Mary were tightened up by about 20 minutes, it would be much funnier.
    • 53 Metascore
    • 60 Charles Taylor
    If The Siege frustrates anyone, it should be the moviegoers who turn up expecting the kind of clean resolution that action movies thrive on.
    • 66 Metascore
    • 60 Charles Taylor
    So often loose and funny that you'd have to be pretty stingy not to get some pleasure from it.
    • 73 Metascore
    • 60 Charles Taylor
    Isn't a good movie. It's drab, visually ugly and a little pokey...but the two heroines are so recognizable as real girls, and the young actresses who play them are so appealing, that you keep rooting for these kids.
    • 81 Metascore
    • 60 Charles Taylor
    A singularly unpleasant movie.
    • 76 Metascore
    • 60 Charles Taylor
    Well-enough made and highly watchable, but it lacks the one thing that would put some swing in its step and some swagger in its attitude: a sense of jazz.
    • 57 Metascore
    • 60 Charles Taylor
    Shelton has directed Dark Blue in a jacked-up urban thriller style that simply does not play to his gifts. He's a sidewinder, the sort of writer-director who tells his stories through loopy character details and anecdotes.
    • 47 Metascore
    • 60 Charles Taylor
    It could be funnier, sharper, more probing, but at its best it is sexy, and that's always something to celebrate.
    • 77 Metascore
    • 60 Charles Taylor
    None of the characters in Magnolia feel as vividly imagined as the porn stars and filmmakers and hangers-on of "Boogie Nights."
    • 60 Metascore
    • 60 Charles Taylor
    The movie seems to proceed from somebody's notion that it would be hilarious to see a black guy and a Chinese guy working together.
    • 73 Metascore
    • 60 Charles Taylor
    Though I admire much of what Cuesta does in L.I.E., the film didn't give me much pleasure. I didn't find it unpleasant or repulsive; it's just that I felt he was too much outside the story.
    • 76 Metascore
    • 60 Charles Taylor
    It's a noble undertaking. But why isn't it a better movie? Told in scattered fashion, the movie only intermittently lives up to the stories and faces and music of the men who are its subject. Part of the problem is the narration.
    • 75 Metascore
    • 60 Charles Taylor
    At its best, State and Main is fast and sharp, but when a movie like this goes off the rails, it's more disappointing than when a bad movie does.
    • 67 Metascore
    • 60 Charles Taylor
    Follows a consistently predictable arc. In some sequences, you can tell not just what's going to happen next, but what shot is coming next. And the movie's weird mixture of moralism and affectlessness cancel each other out.
    • 72 Metascore
    • 60 Charles Taylor
    A consistently engrossing piece of work.
    • 76 Metascore
    • 60 Charles Taylor
    A large part of the movie's problem is that both the characters and the actors who portray them serve as vehicles for Ramsay's stylistic flourishes.
    • 57 Metascore
    • 60 Charles Taylor
    It's melodrama that rises to the complexity of art. The Human Stain takes a complex work of literary art and reduces it to tasteful melodrama. Its smallness is simply crushing.
    • 72 Metascore
    • 60 Charles Taylor
    What's the point of setting up a historical fantasia around an invented character if you're only going to make her part of the scenery?
    • 67 Metascore
    • 60 Charles Taylor
    It's nearly impossible to tell whether Williams thought he was making a family tragedy or a sex farce.
    • 62 Metascore
    • 60 Charles Taylor
    This hot-button picture isn't especially well thought-out, but it might be crafty and manipulative enough to rile up audiences.
    • 61 Metascore
    • 60 Charles Taylor
    Fincher is still working on the assumption that he has better things to do than entertain an audience. Which would be fine if he weren't drawn to such schlocky material.
    • 52 Metascore
    • 60 Charles Taylor
    How's the movie? Big, loud, brutal and stupid, that's how it is. But then, you don't need a critic to tell you that -- anyone with a grade-school education who's seen the previews can figure that out.
    • 83 Metascore
    • 60 Charles Taylor
    When one of the young women Vera attends to nearly dies of complications, the police arrest her -- and the movie goes thud, taking Staunton's performance along with it.
    • 94 Metascore
    • 60 Charles Taylor
    Alexander Payne's new movie, Sideways, makes you feel like you're trapped at dinner with a wiseass who's trying to convince you what a sensitive guy he is.
    • 52 Metascore
    • 60 Charles Taylor
    Whatever the reason, Bean saddles Atkinson with a story that hangs on him like a dead weight and a filmmaking style that surrounds him like dead air.
    • 69 Metascore
    • 60 Charles Taylor
    Live Flesh isn't terrible. It's accomplished and watchable.
    • 57 Metascore
    • 50 Charles Taylor
    If Bond long ago became part of your fantasy life or your pop iconography, then the anticipation of a good Bond movie would probably survive even if The World Is Not Enough were worse than it is.
    • 58 Metascore
    • 50 Charles Taylor
    The new black movies make those of us sitting in the theater watching feel as if we actually count for something. That good feeling can carry you through this movie's silly and dull patches.
    • 53 Metascore
    • 50 Charles Taylor
    Winds up a lot closer to the movies it's taking off from than it cares to admit: cheap, unimaginative and predictable. It's the horror movie equivalent of one of those "Saturday Night Live" sketches that drags on interminably, though nobody in it seems to have any idea of just what the joke is.
    • 70 Metascore
    • 50 Charles Taylor
    A little more flair and polish could have made Girlfight a terrific movie instead of just the decent one it is.
    • 59 Metascore
    • 50 Charles Taylor
    Even the most spectacular things Woo unleashes here feel strangely impersonal.
    • 37 Metascore
    • 50 Charles Taylor
    I don't know when a bad movie has made me laugh as much as this one. Most of the gags are vintage silliness: foreign double talk, characters donning funny costumes, well-timed profanities.
    • 37 Metascore
    • 50 Charles Taylor
    Far from unwatchable. It's not a good movie but at least, on its own schlocky terms, the story makes sense (which is a lot more than you can say for "The Sixth Sense").
    • 68 Metascore
    • 50 Charles Taylor
    It's a cynical way to pass time, the cynicism that comes from being presented with something you've seen a hundred times before.
    • 46 Metascore
    • 50 Charles Taylor
    Should have been a quick and dirty pulp tall tale. But it pokes along instead of accelerating, and though it isn't exactly smug it's rather too pleased with its own manufactured outrageousness.
    • 53 Metascore
    • 50 Charles Taylor
    It's a movie almost doomed to be called "refreshing," in the way that the word is used to excuse the game but amateurish presentation of a quirky premise.
    • 35 Metascore
    • 50 Charles Taylor
    Love's Labour's Lost is flawed, but Kenneth Branagh remains our greatest living interpreter of Shakespeare.
    • 54 Metascore
    • 50 Charles Taylor
    A truly vulgar movie.
    • 74 Metascore
    • 50 Charles Taylor
    Carefully made, respectful and dull.
    • 75 Metascore
    • 50 Charles Taylor
    As a movie, it's a disaster. As political speech, it's imprecise, shrill and sometimes clichéd, but it's also alive.
    • 65 Metascore
    • 50 Charles Taylor
    It's in no way a stupid movie. The trouble is that there's only so much emotional energy you can expend on these assholes before you start wondering why you're paying attention to them at all.
    • 51 Metascore
    • 50 Charles Taylor
    Kate Hudson gives the best performance in the movie, though she seems always on the verge of being funnier and dirtier than she's allowed to be. Elsewhere the cast is accumulated for their cachet more than for any role they're given to play. Some of the casting makes no sense.
    • 53 Metascore
    • 50 Charles Taylor
    For all its dumb clichés it offers the basic appeal of teen movies: the pleasure of watching kids be kids, acting as they do among themselves instead of how parents and teachers expect them to act.
    • 78 Metascore
    • 50 Charles Taylor
    The Thin Red Line, either by incompetence or willful perversity, dispenses with plot, characterization, dramatic structure and emotional payoffs in favor of the sort of painstakingly composed pictorial diddling that invariably gets critics frothing about the director's "indelible" images.
    • 37 Metascore
    • 50 Charles Taylor
    The most surprising thing about the movie is the clumsiness of Harold Ramis' direction. Ramis has never equaled the work he did on "Groundhog Day."
    • 46 Metascore
    • 50 Charles Taylor
    This In-Laws isn't a disaster, it's just not very good.
    • 62 Metascore
    • 50 Charles Taylor
    There's nothing in either the conception or execution to lift it above a TV-movie tear-jerker.
    • 51 Metascore
    • 50 Charles Taylor
    "Star Wars" fans deserve better.
    • 62 Metascore
    • 50 Charles Taylor
    Gives no indication that Jean-Luc Godard has anything left to say that is worth hearing, no indication that he has any drive or passion to continue making movies. What's on the screen is habit -- accomplished, rote, empty.
    • 48 Metascore
    • 50 Charles Taylor
    Chan is still one of the most amazing -- and one of the most charming -- physical performers the movies have given us.
    • 48 Metascore
    • 50 Charles Taylor
    Everything the first "Mummy" was fun for not being. It's loud and chaotic, jammed with effects that don't wow us precisely because they are trying so hard to wow us.
    • 70 Metascore
    • 50 Charles Taylor
    The picture is moderately diverting. But it's never much fun.
    • 47 Metascore
    • 50 Charles Taylor
    Legally Blonde was content to tickle you. The new one is something akin to a band that has a surprisingly successful debut deciding to rerecord all their originals and release a "Greatest Hits" collection for their second CD. It's both familiar and off.
    • 72 Metascore
    • 50 Charles Taylor
    It's deluxe and handsome and has no soul.
    • 64 Metascore
    • 50 Charles Taylor
    If Jackie Brown lost 45 minutes, it might have been a snazzy entertainment. As it is, it wears out its welcome well before the end.
    • 61 Metascore
    • 50 Charles Taylor
    Here's a real mystery: How can John Cusack, Gene Hackman and Dustin Hoffman, acting in a John Grisham thriller, be so dull?
    • 64 Metascore
    • 50 Charles Taylor
    There's a reason why Looney Tunes cartoons were six minutes long. Stretched out over an hour and a half, they're wearying.
    • 66 Metascore
    • 50 Charles Taylor
    Irritatingly moralistic romantic comedy.
    • 46 Metascore
    • 50 Charles Taylor
    The kind of bland, perky comedy that neuters whoever is spun into its cotton-candy web.
    • 59 Metascore
    • 50 Charles Taylor
    Barbershop 2 is like going out for a bad meal with a group of people you love being with. You're happy to be in their company; you just wish you didn't leave feeling hungry.
    • 45 Metascore
    • 50 Charles Taylor
    By the end of Love Object a dorky loner who wants a rubber sex doll at his beck and call seems a lot less objectionable than a director who wants a talented flesh-and-blood actress at his.
    • 39 Metascore
    • 50 Charles Taylor
    The plot construction here is especially lazy. The whole movie is built toward the dance competition.
    • 54 Metascore
    • 50 Charles Taylor
    The lost opportunity of Hidalgo isn't that it fails to live up to its potential for romantic adventure, but that it fails to dig into the romance between man and horse that's at the heart of the story.
    • 71 Metascore
    • 50 Charles Taylor
    Like too many young filmmakers, Anderson seems to equate honesty with choppy editing, bad lighting (so harsh in a couple of shots you can see the pancake on Davis' face) and herky-jerky camera movements.
    • 56 Metascore
    • 50 Charles Taylor
    Sructured like a Mad magazine parody where there's a promised joke in each frame. It doesn't add up to a movie.
    • 38 Metascore
    • 50 Charles Taylor
    If a couple who belonged to the Christian Coalition, or your maiden aunt, or George and Laura Bush were looking for a reassuring night out, Raising Helen would fit the bill nicely.
    • 57 Metascore
    • 50 Charles Taylor
    A dragging, rhythmless piece of work.
    • 52 Metascore
    • 50 Charles Taylor
    The movie is efficient but scores zero in suspense, wit or class.
    • 71 Metascore
    • 50 Charles Taylor
    To borrow a phrase from Pauline Kael, Intimate Strangers suggests bits of Alfred Hitchcock and bits of Woody Allen. But the wrong bits.
    • 40 Metascore
    • 50 Charles Taylor
    It's fun, but it isn't believable for a minute.
    • 49 Metascore
    • 50 Charles Taylor
    Conspiracy Theory doesn't know whether it wants to be a comedy, a political thriller, a romance or a satire.
    • 67 Metascore
    • 50 Charles Taylor
    The real surprise of Private Parts is that it isn't very funny. It's a flat piece of work with long, slack stretches.
    • 64 Metascore
    • 50 Charles Taylor
    Team America, for all its outrageousness, is the first work from Parker and Stone that I'd describe as a failure of nerve.
    • 47 Metascore
    • 50 Charles Taylor
    The movie feels choppy and rhythmless. And he's (Chelsom) rather hopeless at dance sequences.
    • 52 Metascore
    • 50 Charles Taylor
    Nothing but plot and production values, and there's barely a laugh in it that isn't quashed.
    • 68 Metascore
    • 50 Charles Taylor
    It doesn't take Rea long to decide that he's more interested in extending his record for Longest Acting Career Sustained on One Expression, and he's back to his baggy-eyed, hangdog look.
    • 55 Metascore
    • 50 Charles Taylor
    Schumacher's crude bio-drama never comes close to asking the real questions.
    • 67 Metascore
    • 50 Charles Taylor
    Stettner must be one of the luckiest and unluckiest debut directors in years, blessed with actors who both take the focus away from his limitations and wind up shining a spotlight on them.
    • 46 Metascore
    • 50 Charles Taylor
    Certainly pleasant enough, and if you can put the preachiness out of mind it's entertaining, in its square, conventional way.
    • 69 Metascore
    • 50 Charles Taylor
    Happy Together feels joylessly fussed over.
    • 48 Metascore
    • 40 Charles Taylor
    Wants to be a dizzy, precarious thrill ride. Glenn provides the only gravity that doesn't seem dull, literal and earthbound.
    • 71 Metascore
    • 40 Charles Taylor
    Just a bad movie, with more bits of good acting and flashes of director's invention than you get in most bad movies.
    • 65 Metascore
    • 40 Charles Taylor
    Ali
    Will Smith flies like a butterfly, but what director Michael Mann does to the greatest fighter of all time just stings.
    • 51 Metascore
    • 40 Charles Taylor
    It's that sense of ardor that's missing from Ben Chaplin's performance in Birthday Girl.
    • 35 Metascore
    • 40 Charles Taylor
    The bitterness of her new comedy, Loser, comes as a shock. It's not a mean-spirited movie.
    • 48 Metascore
    • 40 Charles Taylor
    High Crimes does offer good, often sharp and funny work from its two stars. But you can't fake excitement, and it's a lousy feeling to know that the best commercial movie I can point you to right now is this shallow, self-erasing nonsense.
    • 50 Metascore
    • 40 Charles Taylor
    Todd Solondz's newest debacle drips with contempt for his audience, his characters and his critics.
    • 40 Metascore
    • 40 Charles Taylor
    The Invisible Circus isn't junk. It's carefully, competently made, though with no particular feeling for technique or rhythm.
    • 60 Metascore
    • 40 Charles Taylor
    Nothing is more dispiriting than forced high spirits. Bandits keeps reminding you of what a good time you should be having. You leave with a feeling of being swindled, and that's the only genuine thing about it.
    • 47 Metascore
    • 40 Charles Taylor
    Toback's method of presenting the evidence without judgment backfires, finally appearing just as shapeless as the movie's structure.
    • 58 Metascore
    • 40 Charles Taylor
    The most dispiriting thing about Kiss of the Dragon, is that it's another example of how Western filmmakers fall on their faces when they try to evoke the feel of Hong Kong action films.
    • 52 Metascore
    • 40 Charles Taylor
    The characters in the Argentinean heart-warmer Valentín spend so much time squabbling and yelling that after a while I began to long for a nice movie about a family of mutes.

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