Charles Taylor

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For 371 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 9.6 points lower than other critics. (0-100 point scale)

Charles Taylor's Scores

  • Movies
  • TV
Average review score: 53
Highest review score: 100 The Discreet Charm of the Bourgeoisie [re-release]
Lowest review score: 0 I Am Sam
Score distribution:
  1. Negative: 97 out of 371
371 movie reviews
    • 49 Metascore
    • 30 Charles Taylor
    This adolescent comic-noir trounces Shakespeare's "Macbeth," but Maura Tierney sizzles as a vengeful Lady Frycook.
    • 53 Metascore
    • 30 Charles Taylor
    It's too mild to be crass; it's clumsy. Lehmann has made what amounts to an anti-sex sex comedy, the first youth sex comedy made to be enjoyed by those creepy abstinence teens.
    • 45 Metascore
    • 30 Charles Taylor
    A stiff, clunky piece of work that never builds up urgency or tension. The script, by playwright Ronald Harwood, who wrote the script for Roman Polanski's "The Pianist," is close to atrocious.
    • 49 Metascore
    • 30 Charles Taylor
    Hoary epic of British Empire valor and cowardice, remade for seventh time, remains rot, old boy.
    • 36 Metascore
    • 30 Charles Taylor
    A grim, sour view of single life.
    • 57 Metascore
    • 30 Charles Taylor
    When the movie isn't hitting us over the head, it's spooning out the material to us like broth to an invalid, drop by flavorless drop. The excruciating pace mirrors the sluggishness of Morrison's sonorous prose.
    • 44 Metascore
    • 30 Charles Taylor
    For everyone who's been waiting for a love story between an anal retentive and a flake.
    • 41 Metascore
    • 30 Charles Taylor
    To say that the film is unpleasant would imply that there's an emotional reaction to be gotten from it. I'd have to believe that there was someone, somewhere, who would actually care.
    • 65 Metascore
    • 30 Charles Taylor
    Klapisch wants his characters shiny bright, and winds up making them excruciatingly dull in the process. Watching L'Auberge Espagnole is like seeing the young Maoist revolutionaries of Jean-Luc Godard's 1967 "La Chinoise" body-snatched by the international touring company of "Up With People."
    • 54 Metascore
    • 30 Charles Taylor
    The Hulk goes on for two hours and 20 minutes and there's not a stirring or exciting moment in it...At last, a comic-book movie that National Public Radio listeners can be proud to take their kids to see.
    • 63 Metascore
    • 30 Charles Taylor
    A little like looking at pictures without a text to unify them… Prestige filmmaking bereft of inspiration -- sometimes even of the nuts and bolts of craft.
    • 64 Metascore
    • 30 Charles Taylor
    Because the movie never fully engages us, it never quite manages to allay our queasiness about watching the boy's distress.
    • 68 Metascore
    • 20 Charles Taylor
    Kubrick's much-anticipated final film boils down to the most elaborate monogamy lecture ever.
    • 52 Metascore
    • 20 Charles Taylor
    The embodiment of every conservative paranoid's slathering fantasies about Paula Jones, Vince Foster and Whitewater.
    • 45 Metascore
    • 20 Charles Taylor
    Seems best suited to all the couch-potato swinging dicks who get off watching the police on "Cops" keep the public safe from people in possession of marijuana.
    • 72 Metascore
    • 20 Charles Taylor
    It's not just our emotions that are being played on here, it's not just our intelligence being insulted because of Ron Howard and Akiva Goldsman's presumption that we won't have any interest in a character whom it's not always possible to like. It's John Nash's life, being turned into an Oscar machine and an easy way to jerk tears.
    • 32 Metascore
    • 20 Charles Taylor
    Even dressed up in tabloid lighting and cut with jagged edits, this pulp nihilism never goes beyond daytime TV banality.
    • 30 Metascore
    • 20 Charles Taylor
    It's like receiving a box of Valentine's chocolates in which someone has deliberately hidden ground glass. Flee.
    • 39 Metascore
    • 20 Charles Taylor
    It's hard to remember a movie that has asked us to care, without giving us reason to, about a character who is so thoroughly and relentlessly a prick.
    • 25 Metascore
    • 20 Charles Taylor
    The movie is flat-footed, and the pacing gives you time to rest between laughs.
    • 37 Metascore
    • 20 Charles Taylor
    Ben Affleck provides a charismatic star turn, but John Frankenheimer's out-of-season heist thriller is dead on arrival.
    • 40 Metascore
    • 20 Charles Taylor
    A sustained piece of showboating mythmaking, and something of a snow job.
    • 35 Metascore
    • 20 Charles Taylor
    The whole movie is overbright, overloud, antic, telling us the characters and animals are endearing rather than allowing them to reveal themselves as such.
    • 43 Metascore
    • 20 Charles Taylor
    The entire movie looks as if it were processed in the toilet of a Tijuana jail cell. Shot by Dariusz Wolski in colors that are bleached out, over bright and flat, The Mexican is the ugliest-looking major studio release in recent memory.
    • 60 Metascore
    • 20 Charles Taylor
    Anti-Americanism is a small matter when a movie is anti-human. Dogville is as total a misanthropic vision as anything control freak Stanley Kubrick ever turned out.
    • 18 Metascore
    • 20 Charles Taylor
    It is a testament to our national determination that Nathan is not stymied by his almost complete lack of talent, his slipshod timing or his crude comic sensibility.
    • 37 Metascore
    • 20 Charles Taylor
    Unpleasant would be the word for Mercury Rising if "tired" weren't a more appropriate one.
    • 36 Metascore
    • 20 Charles Taylor
    Sells ignorance as a refined evening's entertainment.
    • 62 Metascore
    • 20 Charles Taylor
    The Negotiator slogs on for two hours and 20 minutes, and there's hardly a real laugh or a genuine thrill in it.
    • 53 Metascore
    • 20 Charles Taylor
    The movie not only approaches a level of shamelessness you have to see to disbelieve, it does it in a manner that's both inept and crass.

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