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

Charles Taylor's Scores

  • Movies
  • TV
Average review score: 52
Highest review score: 100 Hero
Lowest review score: 0 Hannibal
Score distribution:
  1. Negative: 96 out of 367
367 movie reviews
    • 66 Metascore
    • 80 Charles Taylor
    A sophisticated, subtle adult entertainment that is also a compliment to the audience.
    • 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.
    • 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.
    • 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.
    • 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.
    • 48 Metascore
    • 80 Charles Taylor
    Lush, even juicy entertainment.
    • 59 Metascore
    • 80 Charles Taylor
    Slick, satisfying entertainment, as is the chemistry of Dunst and Bettany.
    • 79 Metascore
    • 80 Charles Taylor
    The epitome of the small, character-driven film that the indie movement was supposed to champion before it became a hip mirror of the Hollywood star system.
    • 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.
    • 44 Metascore
    • 80 Charles Taylor
    Amusing, ultra-deadpan entertainment. The director was lucky enough to have a cast who were in on the joke and tuned in to his wavelength.
    • 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.
    • 77 Metascore
    • 80 Charles Taylor
    A small movie, to be sure, but it's also a thoroughly original one.
    • 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.
    • 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.
    • 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.
    • 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.
    • 58 Metascore
    • 80 Charles Taylor
    What Chan represents -- the humor and charm and the sheer physical beauty of seeing him in action -- as well as the lazy, ping-pong repartee he achieves with Wilson, is the essence of the casual, deceptively artless art of movies.
    • 62 Metascore
    • 80 Charles Taylor
    Kevin Smith's comic-religious fantasy turns out to be the sweetest hot-potato movie imaginable.
    • 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.
    • 52 Metascore
    • 80 Charles Taylor
    Airy and enchanting, this romantic comedy works overtime to sprinkle moonlight and stardust over itself.
    • 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.
    • 63 Metascore
    • 80 Charles Taylor
    It's one of the fullest portrayals of sexual desire and pleasure and fear I've ever seen in a movie.
    • 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.
    • 76 Metascore
    • 80 Charles Taylor
    Suffers from PBS syndrome, but Dame Judi Dench cures with a moving portrayal of life with Alzheimer's.
    • 79 Metascore
    • 80 Charles Taylor
    Tsai Ming-Liang's new movie about urban isolation reinvents the delicate, poetic shadow play of silent movies.
    • 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.
    • 64 Metascore
    • 70 Charles Taylor
    A cozy little ode to sensual and culinary pleasure.
    • 73 Metascore
    • 70 Charles Taylor
    Much of the pleasure of the movie is the way its mood lingers with you afterward.
    • 65 Metascore
    • 70 Charles Taylor
    Branagh is appealing here in the way we remember from movie heroes of the '30s: cynical, wisecracking and wised-up.
    • 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.

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