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 Trainspotting
Lowest review score: 0 Enough
Score distribution:
  1. Negative: 96 out of 367
367 movie reviews
    • 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.
    • 52 Metascore
    • 60 Charles Taylor
    How's the movie? Big, loud, brutal and stupid, that's how it is. But then, you don't need a critic to tell you that -- anyone with a grade-school education who's seen the previews can figure that out.
    • 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.
    • 42 Metascore
    • 60 Charles Taylor
    The Time Machine is, for the most part, a handsome, pleasant entertainment.
    • 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."
    • 70 Metascore
    • 60 Charles Taylor
    A slack, tepid picture stuck in a no man's land between satire and drama.
    • 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.
    • 61 Metascore
    • 60 Charles Taylor
    Fincher is still working on the assumption that he has better things to do than entertain an audience. Which would be fine if he weren't drawn to such schlocky material.
    • 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.
    • 72 Metascore
    • 60 Charles Taylor
    What's the point of setting up a historical fantasia around an invented character if you're only going to make her part of the scenery?
    • 67 Metascore
    • 60 Charles Taylor
    It's nearly impossible to tell whether Williams thought he was making a family tragedy or a sex farce.
    • 76 Metascore
    • 60 Charles Taylor
    A large part of the movie's problem is that both the characters and the actors who portray them serve as vehicles for Ramsay's stylistic flourishes.
    • 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.
    • 52 Metascore
    • 60 Charles Taylor
    Whatever the reason, Bean saddles Atkinson with a story that hangs on him like a dead weight and a filmmaking style that surrounds him like dead air.
    • 69 Metascore
    • 60 Charles Taylor
    Live Flesh isn't terrible. It's accomplished and watchable.
    • 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."
    • 46 Metascore
    • 50 Charles Taylor
    This In-Laws isn't a disaster, it's just not very good.
    • 35 Metascore
    • 50 Charles Taylor
    Love's Labour's Lost is flawed, but Kenneth Branagh remains our greatest living interpreter of Shakespeare.
    • 53 Metascore
    • 50 Charles Taylor
    It's a movie almost doomed to be called "refreshing," in the way that the word is used to excuse the game but amateurish presentation of a quirky premise.
    • 46 Metascore
    • 50 Charles Taylor
    Certainly pleasant enough, and if you can put the preachiness out of mind it's entertaining, in its square, conventional way.
    • 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.
    • 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.
    • 68 Metascore
    • 50 Charles Taylor
    It's a cynical way to pass time, the cynicism that comes from being presented with something you've seen a hundred times before.
    • 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").
    • 59 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.
    • 53 Metascore
    • 50 Charles Taylor
    Winds up a lot closer to the movies it's taking off from than it cares to admit: cheap, unimaginative and predictable. It's the horror movie equivalent of one of those "Saturday Night Live" sketches that drags on interminably, though nobody in it seems to have any idea of just what the joke is.
    • 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.
    • 54 Metascore
    • 50 Charles Taylor
    A truly vulgar movie.
    • 60 Metascore
    • 50 Charles Taylor
    Even the most spectacular things Woo unleashes here feel strangely impersonal.
    • 70 Metascore
    • 50 Charles Taylor
    The picture is moderately diverting. But it's never much fun.

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