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

Charles Taylor's Scores

  • Movies
Average review score: 52
Highest review score: 100 Yi yi: A One and a Two...
Lowest review score: 0 I Am Sam
Score distribution:
  1. Negative: 96 out of 367
367 movie reviews
    • 69 Metascore
    • 80 Charles Taylor
    The latest from Woody Allen is an enjoyable trifle -- but Tracey Ullman and Elaine May walk off with the picture.
    • 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.
    • 68 Metascore
    • 80 Charles Taylor
    Entertaining, handsome and gripping, The Bourne Identity is something of an anomaly among big-budget summer blockbusters: a thriller with some brains and feeling behind it, more attuned to story and character than to spectacle.
    • 75 Metascore
    • 80 Charles Taylor
    Watching Man on the Train is like coming across one of those threadbare Persian rugs you see on public tours of private homes. Its elegance is more comfortable than cold, and it carries its worn, battered mien proudly.
    • 52 Metascore
    • 80 Charles Taylor
    Airy and enchanting, this romantic comedy works overtime to sprinkle moonlight and stardust over itself.
    • 62 Metascore
    • 80 Charles Taylor
    It's a mess, and a ridiculous golden shower of toilet humor. But Mike Myers' superspy spoof still provides the summer's purest movie delight.
    • 64 Metascore
    • 80 Charles Taylor
    It's a consistently exciting piece of moviemaking, but it's not a pleasant experience; it's one of the few recent movies that have the power to leave you genuinely shaken up.
    • 63 Metascore
    • 80 Charles Taylor
    Starts out as noir, takes a shift into something like deadpan screwball comedy and ends up as a comedy of remarriage.
    • 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.
    • 66 Metascore
    • 80 Charles Taylor
    You slip into the movie so easily that by the time it reaches its emotional climax, you're unprepared.
    • 55 Metascore
    • 80 Charles Taylor
    Great Expectations is a triumph because Cuarón's vision prevailed. He seems to be one of those artists capable of reminding us how we first experienced movies, as an overpowering enchantment.
    • 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.
    • 68 Metascore
    • 80 Charles Taylor
    Watching it is a little like stumbling upon a frayed valentine you put away years ago and then laughing with pleasure at how much it still means to you.
    • 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.
    • 75 Metascore
    • 80 Charles Taylor
    In some ways, this is the most conventional of Sheridan's movies. But it never feels sentimental because of the grittiness of his approach.
    • 59 Metascore
    • 80 Charles Taylor
    Slick, satisfying entertainment, as is the chemistry of Dunst and Bettany.
    • 77 Metascore
    • 80 Charles Taylor
    Fuller was never a poetic director, but in The Big Red One he finds what in himself was closest to lyricism. Fuller's movie is like flowers thrown on a battlefield in remembrance, and it makes the overblown war movies that have followed seem like cheap and tatty Veteran's Day poppies.
    • 74 Metascore
    • 80 Charles Taylor
    Kundun, which was written by Melissa Mathison ("E.T.") from interviews conducted with the Dalai Lama, doesn't make you greedy for its images the way some gorgeous films do. It allows you to drink each one in tranquilly.
    • 79 Metascore
    • 80 Charles Taylor
    Tsai Ming-Liang's new movie about urban isolation reinvents the delicate, poetic shadow play of silent movies.
    • 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.
    • 71 Metascore
    • 80 Charles Taylor
    Behind its mask of deadpan goofiness, it's a friendly, clever picture, one that doesn't feel untouched by human hands. And at an hour-and-a-half, it doesn't wear out its welcome.
    • 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.
    • 46 Metascore
    • 80 Charles Taylor
    For all of their vaunted (and, it turns out, false) fidelity to Nabokov, Lyne and Schiff have made a pretty, gauzy Lolita that replaces the book's cruelty and comedy with manufactured lyricism and mopey romanticism.
    • 72 Metascore
    • 80 Charles Taylor
    Winterbottom's film is openly a polemic. Messy and visceral, with an articulate, pointed anger that's recognizably British, Welcome to Sarajevo hits with an impact that's not diminished by the fact that Sarajevo's uneasy peace has held.
    • 66 Metascore
    • 80 Charles Taylor
    Casting Barrymore as Cinderella is an inspired idea, and a tribute to director Andy Tennant's ability to see through the public's perception of Barrymore to her essence as a performer.
    • 76 Metascore
    • 80 Charles Taylor
    The Last of the Mohicans is a striking mixture of the ersatz and the genuine. In other words, it’s vintage Hollywood. It’s also a smashingly entertaining and satisfying adventure.
    • 52 Metascore
    • 70 Charles Taylor
    Unexpected late-summer treat.
    • 55 Metascore
    • 70 Charles Taylor
    Along with Sheryl Lee, Morton is probably the best actress to have emerged in this decade.
    • 61 Metascore
    • 70 Charles Taylor
    It's an awfully enjoyable, hip little B-movie.
    • 64 Metascore
    • 70 Charles Taylor
    Lets you indulge your taste for soapy heartache without leaving you feeling that you have to wash the bubbles out of your mouth.