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 Yi yi: A One and a Two...
Lowest review score: 0 Air Force One
Score distribution:
  1. Negative: 96 out of 367
367 movie reviews
    • 73 Metascore
    • 70 Charles Taylor
    Much of the pleasure of the movie is the way its mood lingers with you afterward.
    • 51 Metascore
    • 70 Charles Taylor
    In "Buffalo 66," Gallo was an unfunny prankster. In The Brown Bunny, wearing his heart on his sleeve, he's a real filmmaker.
    • 72 Metascore
    • 70 Charles Taylor
    Ricci's Wendy captures the volatile combination of aggressiveness and uncertainty in a young woman trying to come to terms with her sexuality like no performance since Emily Lloyd's in "Wish You Were Here." It's a very different performance, quieter, harder and yet more vulnerable.
    • 74 Metascore
    • 70 Charles Taylor
    There's a combination of fatalism and hard-edged humor at work in The Sea Inside that you can imagine Irish writers would feel right at home with.
    • 64 Metascore
    • 70 Charles Taylor
    As much as Eastwood ever expresses pleasure about anything, you sense a flicker of gratification that he can work with actors who can hold their own against him. Lifford does it without breaking a sweat. Howard Hawks would have loved her.
    • 49 Metascore
    • 70 Charles Taylor
    The good-natured silliness of it all kept me laughing.
    • 57 Metascore
    • 70 Charles Taylor
    A light, enjoyable night out. This happens largely because of Charlotte Gainsbourg, who's simply adorable. Attal shoots her with tenderness throughout, a tenderness that comes from familiarity.
    • 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.
    • 66 Metascore
    • 70 Charles Taylor
    Whatever the reason, Oscar and Lucinda winds up feeling like a collection of bits in search of vision and an emotional surge.
    • 72 Metascore
    • 70 Charles Taylor
    It's an exceptionally intelligent and controlled piece of direction, and for once Polanski didn't hide his emotions in a death's-head grin. The movie is raw and passionate and unresolved in a way that's unique among his work.
    • 61 Metascore
    • 70 Charles Taylor
    As events in Mr. Jealousy grow more entangled, there is no corresponding escalation in the pace of the movie, and Baumbach misses out on some laughs...But Mr. Jealousy is one of those movies where the less assured passages are a good sign, the mark of a director trying something new.
    • 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.