Charles Taylor
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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 7.4 points lower than other critics. (0-100 point scale)

Charles Taylor's Scores

  • Movies
  • TV
Average review score: 52
Highest review score: 100 In America
Lowest review score: 0 Speed 2: Cruise Control
Score distribution:
  1. Negative: 96 out of 367
367 movie reviews
    • 33 Metascore
    • 30 Charles Taylor
    Such an inept bundle of work -- crying out for the filmmaking equivalent of Ritalin, but still sluggish as syrup -- that it doesn't even provide an opportunity to ogle properly.
    • 48 Metascore
    • 30 Charles Taylor
    The pacing is off, the emotional tone is wobbly, and none of the actors seem to be acting in the same style or the same movie.
    • 60 Metascore
    • 30 Charles Taylor
    The picture starts off slick and amusing, gets convoluted, draggy and strange round about the midway point, and ends up just plain ludicrous.
    • 44 Metascore
    • 30 Charles Taylor
    It's mostly terrible. The movie has no sparkle, no charm, nothing to sweep us off our feet.
    • 42 Metascore
    • 30 Charles Taylor
    A dreary, ludicrous thriller.
    • 53 Metascore
    • 30 Charles Taylor
    O
    The film is a plodding, earnest adaptation that strips the source of its richness and ambiguity.
    • 77 Metascore
    • 30 Charles Taylor
    One of those movies that you continue to pull for even after it becomes clear that it isn't very good.
    • 36 Metascore
    • 30 Charles Taylor
    This alleged thriller, which might be described as "'Gaslight' Goes to College," is one of the most incoherent features in recent memory.
    • 33 Metascore
    • 30 Charles Taylor
    54
    It's a flat, clumsy piece of filmmaking. When Phillippe and Ward are in bed, the shots are so badly matched that I believed they were having sex, just not with each other.
    • 53 Metascore
    • 30 Charles Taylor
    Stay away from this cautionary tale about the gay porn industry -- it blows.
    • 69 Metascore
    • 30 Charles Taylor
    LaBute is some kind of find: an auteur for people who don't like movies.
    • 64 Metascore
    • 30 Charles Taylor
    Middlebrow kitsch, but kitsch straining for respectability and therefore without the energy that can make kitsch entertaining.
    • 44 Metascore
    • 30 Charles Taylor
    So clumsy and crass that it makes you doubt the pleasure of the first movie.
    • 66 Metascore
    • 30 Charles Taylor
    There's something offensive about how Mamet continues to win praise as a serious filmmaker with such a joyless picture, a picture that -- intentionally -- gives the audience so little.
    • 24 Metascore
    • 30 Charles Taylor
    Stallone returns in a gangster remake that wears itself (and the audience) out trying to be cutting-edge stylish.
    • 54 Metascore
    • 30 Charles Taylor
    A brain-dead version of a dark and complex work.
    • 32 Metascore
    • 30 Charles Taylor
    Isn't particularly assaultive, but it can still make you feel that you never want to see another car chase, explosion or gunfight again.
    • 35 Metascore
    • 30 Charles Taylor
    The movie is so thoroughly lousy. It's loud, brash and obvious, full of car chases and explosions and gunplay.
    • 26 Metascore
    • 30 Charles Taylor
    Totally unwatchable if it weren't for Ashley Judd.
    • 62 Metascore
    • 30 Charles Taylor
    May be the shoddiest and most incoherent piece of big-budget action moviemaking since "Armageddon."
    • 49 Metascore
    • 30 Charles Taylor
    Put Bruce Willis and this bewildering World War II movie in front of the firing line.
    • 38 Metascore
    • 30 Charles Taylor
    Another Jerry Bruckheimer-Michael Bay demonstration of spectacle -- noise, stunts, the aforementioned incoherent editing -- taking precedence over story and character... by far the most brutal American picture released this summer.
    • 57 Metascore
    • 30 Charles Taylor
    Like so many self-conscious directors, Julie Taymor wrecks Shakespeare's already disastrous play with her own horrific vision.
    • 59 Metascore
    • 30 Charles Taylor
    There's some sort of gross egotism involved in linking great music to visuals that are so unabashedly kitschy.
    • 72 Metascore
    • 30 Charles Taylor
    It's not badly made, but it's a drag. Leconte's virtues can't overcome the plodding glumness that prevails.
    • 45 Metascore
    • 30 Charles Taylor
    Isn't a serious attempt to deal with our vulnerability to terrorism, or to address how established channels of power can bring us to the brink. It's the same damn Tom Clancy picture that's been churned out since "The Hunt for Red October," as humorless and gray and dour as its predecessors.
    • 64 Metascore
    • 30 Charles Taylor
    An art-house horror movie, and like most art-house versions of genre films, all the vitality and juice of genre conventions have been sucked right out. The irony of the movie is that it puts you into the same torpor that's supposed to be afflicting the characters.
    • 55 Metascore
    • 30 Charles Taylor
    The movie is an unpleasant slog, the gruesomeness working in concert with humorlessness to lend the whole picture a queasy deadliness.
    • 57 Metascore
    • 30 Charles Taylor
    It's about as phony and manipulative as a movie could be. That Polley seems true every second is maybe the strongest testament yet to her acting. It's exasperating that this movie doesn't have the courage to go places where its actress plainly has the guts to follow.
    • 55 Metascore
    • 30 Charles Taylor
    Probably the worst-directed film Spielberg has ever made. A peculiarly rhythmless piece of work, it seems to go on forever, though nearly every one of the scenes is cut off before it has been dramatically developed.

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