For 367 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 6.6 points lower than other critics. (0-100 point scale)

Charles Taylor's Scores

  • Movies
Average review score: 52
Highest review score: 100 E.T.: The Extra-Terrestrial (re-release)
Lowest review score: 0 I Am Sam
Score distribution:
  1. Negative: 96 out of 367
367 movie reviews
    • 78 Metascore
    • 100 Charles Taylor
    Unassuming masterpiece about life, love and the cruel joke of old age.
    • 93 Metascore
    • 100 Charles Taylor
    This has to be one of the most completely realized comedies ever made, and, in its odd way, one of the most civilized.
    • 94 Metascore
    • 100 Charles Taylor
    One of the loveliest and happiest of American movie entertainments.
    • 83 Metascore
    • 100 Charles Taylor
    The most original, daring, thrilling movie to be released this year, Trainspotting is one of those occasional, astonishing triumphs of risk and imagination that gets you excited about what smart people, pushing themselves and the medium, can accomplish in the movies.
    • 88 Metascore
    • 100 Charles Taylor
    One of the most joyous movies I've ever seen, and one of the handful of great erotic films the movies have given us.
    • 76 Metascore
    • 100 Charles Taylor
    Jim Sheridan's miraculous In America, a generous but never sentimental fable of Irish immigrants in '80s New York, may be the great movie of 2003.
    • 85 Metascore
    • 100 Charles Taylor
    The director seems to be saying that, for survivors, art may be a way back to our finer selves -- extraordinary.
    • 92 Metascore
    • 100 Charles Taylor
    Quietly overwhelming.
    • 84 Metascore
    • 100 Charles Taylor
    One of the most ravishing spectacles the movies have given us.
    • 73 Metascore
    • 100 Charles Taylor
    Ray
    What Ray does right, combined with its generosity of spirit, makes it the most satisfying American movie of the year.
    • 80 Metascore
    • 90 Charles Taylor
    Walking out of the theater, I felt so bereft that I couldn't speak. And it doesn't hurt any less thinking about the movie now, as I write this.
    • 69 Metascore
    • 90 Charles Taylor
    A delight from top to bottom, packed with romance, adventure, beautifully executed swordplay and a sumptuous period look.
    • 74 Metascore
    • 90 Charles Taylor
    An almost perfectly realized poetic vision of people who continue in their everyday existence certain that life in a larger sense has passed them by.
    • 40 Metascore
    • 90 Charles Taylor
    A giddy madcap classic, one of the wildest and funniest American comedies in years.
    • 79 Metascore
    • 90 Charles Taylor
    Consistently interesting without feeling essential until, in its last half-hour, it becomes utterly compelling.
    • 79 Metascore
    • 90 Charles Taylor
    Affliction is a harsh experience, but the harshness isn't a matter of punishing the audience or of the director, Schrader, showing off his toughness: That unvarnished harshness is the very essence of the material.
    • 73 Metascore
    • 90 Charles Taylor
    Surely one of the canniest and most accurate films about American working-class life ever.
    • 72 Metascore
    • 90 Charles Taylor
    It's a deluxe vacation for adults with all frills included: glamorous settings, glamorous clothes, glamorous sex.
    • 76 Metascore
    • 90 Charles Taylor
    You wouldn't mistake Donnie Brasco for a great movie or an important one, but it's something that's become almost as rare in American movies: a consistently absorbing and intelligent adult entertainment.
    • 66 Metascore
    • 90 Charles Taylor
    Next to the Hong Kong action picture So Close, nearly every Hollywood thriller of the summer looks like an elementary-school project thrown together the Sunday night before it was due.
    • 82 Metascore
    • 90 Charles Taylor
    Holds us in a state of horrified empathy.
    • 59 Metascore
    • 90 Charles Taylor
    In his dazzling and luxuriant new thriller Femme Fatale, De Palma turns trash into chic. It's a sexy, violent, glamorous, sinfully funny movie with a surface as hard and brilliant as diamonds.
    • 73 Metascore
    • 90 Charles Taylor
    Robert Altman's surpassingly beautiful ballet movie feels lighter than air -- but in fact it's the great director's most tender and memorable film in years.
    • 78 Metascore
    • 90 Charles Taylor
    Something we haven't seen before: a manic-depressive romantic comedy that aspires to the soul of a musical. It's a new-fashioned love song.
    • 75 Metascore
    • 90 Charles Taylor
    Shot in sumptuous black-and-white by Dreujou, Girl on the Bridge might just be the most beautiful-looking movie of the year.
    • 62 Metascore
    • 90 Charles Taylor
    One of those rare literary adaptations that finds its fidelity in freedom, that stands as both a fitting version of its source material and as its own creation.
    • 81 Metascore
    • 90 Charles Taylor
    It's hard to say why The Station Agent sends you out feeling so benevolent. It may have something to do with being in the presence of a director who treats you with respect. McCarthy allows us to feel without telling us how and what we should feel.
    • 68 Metascore
    • 90 Charles Taylor
    This long shot pays off -- in spades. Not only has Jordan made a movie that's looser, hipper, freer and -- abetted by his great cinematographer, Chris Menges -- more sheerly beautiful to look at, he's also made the best movie of his career.
    • 79 Metascore
    • 90 Charles Taylor
    Never less than witty, charming, accomplished.
    • 82 Metascore
    • 90 Charles Taylor
    It's a wholly amoral movie, but it's honestly amoral. And that's a relief for the audience.
    • 72 Metascore
    • 90 Charles Taylor
    Mike Leigh returns to the council flats of London -- and delivers a richly Dickensian masterpiece about working-class family life.
    • 86 Metascore
    • 90 Charles Taylor
    This heart-wrenching documentary about a French village schoolteacher at work offers the comedy and pathos of great drama and the visual magnificence of painting.
    • 69 Metascore
    • 90 Charles Taylor
    From moment to moment, O Brother, Where Art Thou? is a pleasure. But when the Coens are really cooking, when the acting and the conception and the music all come together, it's something more -- Dogpatch rapture.
    • 91 Metascore
    • 90 Charles Taylor
    Claire Denis' baffling and exhilarating "Billy Budd" smolders with heat-blasted rhythms and supercharged acting.
    • 76 Metascore
    • 90 Charles Taylor
    The holiday season's best movie so far.
    • 73 Metascore
    • 90 Charles Taylor
    As a piece of craft, and with the exception of "Harry Potter and the Prisoner of Azkaban," it's miles beyond any studio film this summer.
    • 88 Metascore
    • 90 Charles Taylor
    Yes, there are some "middle-chapter" problems, but Peter Jackson's Tolkien adaptation hasn't lost its devastating humanity, its heart-stopping cinematography or its epic sweep.
    • 73 Metascore
    • 90 Charles Taylor
    What holds the movie together is its modest, sweet spirit.
    • 79 Metascore
    • 90 Charles Taylor
    A startlingly effective and upsetting political melodrama.
    • 60 Metascore
    • 90 Charles Taylor
    Director Brian De Palma is having too much fun zipping around curves and hitting the accelerator to slow down. He's a supremely confident engineer, and if you're game enough to make a jump for it and hold on, he offers the giddy excitement of watching the ground rush by beneath your dangling feet.
    • 60 Metascore
    • 90 Charles Taylor
    The 1996 kidnap drama Ransom traverses the parameters of public life in America, from the image public figures present to us to the image they never intended us to see. Neither one tells the whole truth. Luckily, Ransom isn't content with surfaces..
    • 61 Metascore
    • 90 Charles Taylor
    With one foot in the grind house and one in the art house, the smarts in Freeway are more than equal to its visceral kick.
    • 76 Metascore
    • 90 Charles Taylor
    The story they are telling here is still in the process of being written. It's as good a sign as any of how absorbing Morning Sun is that the film's sudden ending makes you greedy for more.
    • 88 Metascore
    • 80 Charles Taylor
    Kore-eda doesn't create the simultaneous sense of being destroyed and exalted that the greatest humanist movies do, but he's stayed true to his title.
    • 54 Metascore
    • 80 Charles Taylor
    Truly is an ensemble comedy.
    • 85 Metascore
    • 80 Charles Taylor
    As good as it is, Before Night Falls might not work if Schnabel hadn't found a leading man to hold it together and the Spanish actor Javier Bardem has the understated charisma to pull it off.
    • 66 Metascore
    • 80 Charles Taylor
    A sophisticated, subtle adult entertainment that is also a compliment to the audience.
    • 48 Metascore
    • 80 Charles Taylor
    Lush, even juicy entertainment.
    • 85 Metascore
    • 80 Charles Taylor
    What makes "Out of Sight" a grown-up treat is that the mixture of lust and longing is as flawlessly proportioned as the ingredients in a perfect cocktail.
    • 77 Metascore
    • 80 Charles Taylor
    A small movie, to be sure, but it's also a thoroughly original one.
    • 79 Metascore
    • 80 Charles Taylor
    The epitome of the small, character-driven film that the indie movement was supposed to champion before it became a hip mirror of the Hollywood star system.
    • 64 Metascore
    • 80 Charles Taylor
    It's a consistently exciting piece of moviemaking, but it's not a pleasant experience; it's one of the few recent movies that have the power to leave you genuinely shaken up.
    • 83 Metascore
    • 80 Charles Taylor
    This little knockout of a movie, written and directed by Robert Duvall -- who also plays the title character, a roving Texas evangelist -- can strike you in the same way that Bible stories did when you first encountered them as a child.
    • 71 Metascore
    • 80 Charles Taylor
    Behind its mask of deadpan goofiness, it's a friendly, clever picture, one that doesn't feel untouched by human hands. And at an hour-and-a-half, it doesn't wear out its welcome.
    • 55 Metascore
    • 80 Charles Taylor
    Great Expectations is a triumph because Cuarón's vision prevailed. He seems to be one of those artists capable of reminding us how we first experienced movies, as an overpowering enchantment.
    • 49 Metascore
    • 80 Charles Taylor
    What keeps the movie going, besides Softley's intelligent direction and Mathieson's inventive cinematography, is the actors' duet between Spacey and Bridges.
    • 87 Metascore
    • 80 Charles Taylor
    No one could have held The Fog of War wanting if Morris had concluded that it's impossible to get all the way to the bottom of Robert McNamara. But explicating an enigma is not the same thing as blurring it with artistic ambitions. The thickest fog in this documentary has been conjured not by McNamara, but by Errol Morris.
    • 63 Metascore
    • 80 Charles Taylor
    Starts out as noir, takes a shift into something like deadpan screwball comedy and ends up as a comedy of remarriage.
    • 62 Metascore
    • 80 Charles Taylor
    It's a mess, and a ridiculous golden shower of toilet humor. But Mike Myers' superspy spoof still provides the summer's purest movie delight.
    • 69 Metascore
    • 80 Charles Taylor
    The latest from Woody Allen is an enjoyable trifle -- but Tracey Ullman and Elaine May walk off with the picture.
    • 75 Metascore
    • 80 Charles Taylor
    Watching Man on the Train is like coming across one of those threadbare Persian rugs you see on public tours of private homes. Its elegance is more comfortable than cold, and it carries its worn, battered mien proudly.
    • 71 Metascore
    • 80 Charles Taylor
    A weaker actor, one more naked than De Niro is now capable of being, might have revealed some inner compulsion in the character. But De Niro's steadiness becomes part of the movie's rugged stolidity.
    • 44 Metascore
    • 80 Charles Taylor
    Amusing, ultra-deadpan entertainment. The director was lucky enough to have a cast who were in on the joke and tuned in to his wavelength.
    • 68 Metascore
    • 80 Charles Taylor
    Watching it is a little like stumbling upon a frayed valentine you put away years ago and then laughing with pleasure at how much it still means to you.
    • 66 Metascore
    • 80 Charles Taylor
    You slip into the movie so easily that by the time it reaches its emotional climax, you're unprepared.
    • 79 Metascore
    • 80 Charles Taylor
    Tsai Ming-Liang's new movie about urban isolation reinvents the delicate, poetic shadow play of silent movies.
    • 73 Metascore
    • 80 Charles Taylor
    An art noir that courts pretension but just manages to keep from succumbing to it.
    • 76 Metascore
    • 80 Charles Taylor
    Suffers from PBS syndrome, but Dame Judi Dench cures with a moving portrayal of life with Alzheimer's.
    • 56 Metascore
    • 80 Charles Taylor
    The dirtiest-minded American movie in recent memory -- and an honestly corrupt entertaining picture is never anything to sneeze at.
    • 52 Metascore
    • 80 Charles Taylor
    Airy and enchanting, this romantic comedy works overtime to sprinkle moonlight and stardust over itself.
    • 62 Metascore
    • 80 Charles Taylor
    Kevin Smith's comic-religious fantasy turns out to be the sweetest hot-potato movie imaginable.
    • 83 Metascore
    • 80 Charles Taylor
    There's no doubt that Kill Bill is an epic, and no doubt of the skill that's often apparent. But what it leaves us with is awesomely trivial.
    • 58 Metascore
    • 80 Charles Taylor
    What Chan represents -- the humor and charm and the sheer physical beauty of seeing him in action -- as well as the lazy, ping-pong repartee he achieves with Wilson, is the essence of the casual, deceptively artless art of movies.
    • 68 Metascore
    • 80 Charles Taylor
    Entertaining, handsome and gripping, The Bourne Identity is something of an anomaly among big-budget summer blockbusters: a thriller with some brains and feeling behind it, more attuned to story and character than to spectacle.
    • 86 Metascore
    • 80 Charles Taylor
    And now in The Straight Story, no director has been so buzzingly alert to the emotional lives of those people or to the beauty of the world they inhabit as David Lynch.
    • 75 Metascore
    • 80 Charles Taylor
    In some ways, this is the most conventional of Sheridan's movies. But it never feels sentimental because of the grittiness of his approach.
    • 88 Metascore
    • 80 Charles Taylor
    Band of Outsiders is about the tyranny of living a life of movie-fed fantasies, and while it makes us see the poverty of those fantasies, it also makes them unaccountably rich, poetic, sad.
    • 90 Metascore
    • 80 Charles Taylor
    Andrew Jarecki could have done more to lay out the marriage of sexual and religious and social hysteria that made cases like this possible. But he deserves credit for having the guts to say, in this case and in so many like it, who suffered the most.
    • 63 Metascore
    • 80 Charles Taylor
    It's one of the fullest portrayals of sexual desire and pleasure and fear I've ever seen in a movie.
    • 77 Metascore
    • 80 Charles Taylor
    Fuller was never a poetic director, but in The Big Red One he finds what in himself was closest to lyricism. Fuller's movie is like flowers thrown on a battlefield in remembrance, and it makes the overblown war movies that have followed seem like cheap and tatty Veteran's Day poppies.
    • 74 Metascore
    • 80 Charles Taylor
    Kundun, which was written by Melissa Mathison ("E.T.") from interviews conducted with the Dalai Lama, doesn't make you greedy for its images the way some gorgeous films do. It allows you to drink each one in tranquilly.
    • 59 Metascore
    • 80 Charles Taylor
    Slick, satisfying entertainment, as is the chemistry of Dunst and Bettany.
    • 46 Metascore
    • 80 Charles Taylor
    For all of their vaunted (and, it turns out, false) fidelity to Nabokov, Lyne and Schiff have made a pretty, gauzy Lolita that replaces the book's cruelty and comedy with manufactured lyricism and mopey romanticism.
    • 72 Metascore
    • 80 Charles Taylor
    Winterbottom's film is openly a polemic. Messy and visceral, with an articulate, pointed anger that's recognizably British, Welcome to Sarajevo hits with an impact that's not diminished by the fact that Sarajevo's uneasy peace has held.
    • 66 Metascore
    • 80 Charles Taylor
    Casting Barrymore as Cinderella is an inspired idea, and a tribute to director Andy Tennant's ability to see through the public's perception of Barrymore to her essence as a performer.
    • 76 Metascore
    • 80 Charles Taylor
    The Last of the Mohicans is a striking mixture of the ersatz and the genuine. In other words, it’s vintage Hollywood. It’s also a smashingly entertaining and satisfying adventure.
    • 63 Metascore
    • 70 Charles Taylor
    If there were any justice in the world, The Cat's Meow would be the beginning of the rehabilitation of Davies' image.
    • 68 Metascore
    • 70 Charles Taylor
    Jane Horrocks saves the annoyingly noisy Little Voice.
    • 60 Metascore
    • 70 Charles Taylor
    A trifle but an exceptionally civilized, charming trifle.
    • 71 Metascore
    • 70 Charles Taylor
    By no means a great movie...the movie is most liable to rekindle warm gratitude for all the pleasure he gave us.
    • 57 Metascore
    • 70 Charles Taylor
    A light, enjoyable night out. This happens largely because of Charlotte Gainsbourg, who's simply adorable. Attal shoots her with tenderness throughout, a tenderness that comes from familiarity.
    • 64 Metascore
    • 70 Charles Taylor
    Lets you indulge your taste for soapy heartache without leaving you feeling that you have to wash the bubbles out of your mouth.
    • 70 Metascore
    • 70 Charles Taylor
    Southern Gothic lite -- with a bite.
    • 71 Metascore
    • 70 Charles Taylor
    It's tough not to respond to the visual cleverness of Pleasantville.
    • 65 Metascore
    • 70 Charles Taylor
    Branagh is appealing here in the way we remember from movie heroes of the '30s: cynical, wisecracking and wised-up.
    • 49 Metascore
    • 70 Charles Taylor
    The good-natured silliness of it all kept me laughing.
    • 45 Metascore
    • 70 Charles Taylor
    A movie comedy that manages to be consistently funny without becoming assaultive, and that remains consistently sweet-tempered even at its most macabre, isn't so common that we can refuse this one's modest pleasures.
    • 68 Metascore
    • 70 Charles Taylor
    It isn't an entirely successful or satisfying film, but it's far from dismissible.
    • 61 Metascore
    • 70 Charles Taylor
    It's an awfully enjoyable, hip little B-movie.
    • 47 Metascore
    • 70 Charles Taylor
    Mirkin hits just the right note between naughty and raunchy.