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 8 points lower than other critics. (0-100 point scale)

Charles Taylor's Scores

  • Movies
  • TV
Average review score: 52
Highest review score: 100 The Pianist
Lowest review score: 0 Air Force One
Score distribution:
  1. Negative: 96 out of 367
367 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.

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