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

Charles Taylor's Scores

  • Movies
  • TV
Average review score: 52
Highest review score: 100 E.T. The Extra-Terrestrial
Lowest review score: 0 Enough
Score distribution:
  1. Negative: 96 out of 367
367 movie reviews
    • 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.
    • 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.
    • 74 Metascore
    • 50 Charles Taylor
    Carefully made, respectful and dull.
    • 51 Metascore
    • 50 Charles Taylor
    "Star Wars" fans deserve better.
    • 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.
    • 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.
    • 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?
    • 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").
    • 55 Metascore
    • 50 Charles Taylor
    Schumacher's crude bio-drama never comes close to asking the real questions.
    • 69 Metascore
    • 50 Charles Taylor
    Happy Together feels joylessly fussed over.
    • 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.
    • 40 Metascore
    • 50 Charles Taylor
    It's fun, but it isn't believable for a minute.
    • 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.
    • 59 Metascore
    • 50 Charles Taylor
    Even the most spectacular things Woo unleashes here feel strangely impersonal.
    • 35 Metascore
    • 50 Charles Taylor
    Love's Labour's Lost is flawed, but Kenneth Branagh remains our greatest living interpreter of Shakespeare.
    • 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.
    • 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."
    • 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.
    • 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.
    • 52 Metascore
    • 50 Charles Taylor
    The movie is efficient but scores zero in suspense, wit or class.
    • 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.
    • 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.
    • 62 Metascore
    • 50 Charles Taylor
    There's nothing in either the conception or execution to lift it above a TV-movie tear-jerker.
    • 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.
    • 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.
    • 57 Metascore
    • 50 Charles Taylor
    A dragging, rhythmless piece of work.
    • 66 Metascore
    • 50 Charles Taylor
    Irritatingly moralistic romantic comedy.
    • 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.
    • 30 Metascore
    • 40 Charles Taylor
    The irony of The League of Extraordinary Gentlemen is that it has the most literate pedigree of any action movie you're likely to see this year or next -- and it's been made by people who seem to have no sense of how to tell a story.
    • 83 Metascore
    • 40 Charles Taylor
    For a big-budget action movie Spider-Man 2 is modest and not assaultive -- it has a boring decency.

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