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 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
    • 94 Metascore
    • 100 Charles Taylor
    One of the loveliest and happiest of American movie entertainments.
    • 94 Metascore
    • 60 Charles Taylor
    Alexander Payne's new movie, Sideways, makes you feel like you're trapped at dinner with a wiseass who's trying to convince you what a sensitive guy he is.
    • 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.
    • 92 Metascore
    • 100 Charles Taylor
    Quietly overwhelming.
    • 91 Metascore
    • 90 Charles Taylor
    Claire Denis' baffling and exhilarating "Billy Budd" smolders with heat-blasted rhythms and supercharged acting.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 87 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.
    • 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.
    • 86 Metascore
    • 20 Charles Taylor
    A compendium of every cliché from every bad boxing melodrama ever made, Million Dollar Baby tries to transcend its cornball overfamiliarity with the qualities that have long characterized Eastwood's direction -- it's solemn, inflated and dull.
    • 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.
    • 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.
    • 85 Metascore
    • 70 Charles Taylor
    Moore, who may be the most unpredictably talented actress in movies right now, plays Amber with an inseparable mixture of maternal feeling and lust that's flabbergasting.
    • 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.
    • 85 Metascore
    • 40 Charles Taylor
    Had Payne the grace or generosity to present the vulgarity and naiveté and tackiness of these characters as something vital and endearing and delightful, the movie might have been explosively funny.
    • 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.
    • 84 Metascore
    • 60 Charles Taylor
    Calle 54 doesn't have that coherence or vision of the "Buena Vista Social Club."
    • 84 Metascore
    • 100 Charles Taylor
    One of the most ravishing spectacles the movies have given us.
    • 83 Metascore
    • 40 Charles Taylor
    For a big-budget action movie Spider-Man 2 is modest and not assaultive -- it has a boring decency.
    • 83 Metascore
    • 70 Charles Taylor
    When We Were Kings, which was put together by Taylor Hackford and Leon Gast, is a patchy movie that fails to rise to the grace and articulation of its main attraction. But it has Ali, and when he's on-screen, that's enough.
    • 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.
    • 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.
    • 83 Metascore
    • 60 Charles Taylor
    When one of the young women Vera attends to nearly dies of complications, the police arrest her -- and the movie goes thud, taking Staunton's performance along with it.
    • 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.
    • 82 Metascore
    • 90 Charles Taylor
    It's a wholly amoral movie, but it's honestly amoral. And that's a relief for the audience.
    • 82 Metascore
    • 70 Charles Taylor
    Not without its own bleak integrity. But the movie wipes you out and leaves you with nothing, not even the feeling of exaltation that can be present in the most tragic works of art.
    • 82 Metascore
    • 90 Charles Taylor
    Holds us in a state of horrified empathy.

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