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 7.3 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
Lowest review score: 0 Speed 2: Cruise Control
Score distribution:
  1. Negative: 96 out of 367
367 movie reviews
    • 39 Metascore
    • 50 Charles Taylor
    The plot construction here is especially lazy. The whole movie is built toward the dance competition.
    • 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.
    • 78 Metascore
    • 50 Charles Taylor
    The Thin Red Line, either by incompetence or willful perversity, dispenses with plot, characterization, dramatic structure and emotional payoffs in favor of the sort of painstakingly composed pictorial diddling that invariably gets critics frothing about the director's "indelible" images.
    • 70 Metascore
    • 50 Charles Taylor
    A little more flair and polish could have made Girlfight a terrific movie instead of just the decent one it is.
    • 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.
    • 72 Metascore
    • 50 Charles Taylor
    It's deluxe and handsome and has no soul.
    • 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.
    • 45 Metascore
    • 50 Charles Taylor
    By the end of Love Object a dorky loner who wants a rubber sex doll at his beck and call seems a lot less objectionable than a director who wants a talented flesh-and-blood actress at his.
    • 54 Metascore
    • 50 Charles Taylor
    The lost opportunity of Hidalgo isn't that it fails to live up to its potential for romantic adventure, but that it fails to dig into the romance between man and horse that's at the heart of the story.
    • 48 Metascore
    • 50 Charles Taylor
    Chan is still one of the most amazing -- and one of the most charming -- physical performers the movies have given us.
    • 46 Metascore
    • 50 Charles Taylor
    The kind of bland, perky comedy that neuters whoever is spun into its cotton-candy web.
    • 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.
    • 71 Metascore
    • 50 Charles Taylor
    Like too many young filmmakers, Anderson seems to equate honesty with choppy editing, bad lighting (so harsh in a couple of shots you can see the pancake on Davis' face) and herky-jerky camera movements.
    • 74 Metascore
    • 50 Charles Taylor
    Carefully made, respectful and dull.
    • 51 Metascore
    • 50 Charles Taylor
    "Star Wars" fans deserve better.
    • 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.
    • 53 Metascore
    • 50 Charles Taylor
    For all its dumb clichés it offers the basic appeal of teen movies: the pleasure of watching kids be kids, acting as they do among themselves instead of how parents and teachers expect them to act.
    • 61 Metascore
    • 50 Charles Taylor
    Here's a real mystery: How can John Cusack, Gene Hackman and Dustin Hoffman, acting in a John Grisham thriller, be so dull?
    • 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").
    • 55 Metascore
    • 50 Charles Taylor
    Schumacher's crude bio-drama never comes close to asking the real questions.
    • 69 Metascore
    • 50 Charles Taylor
    Happy Together feels joylessly fussed over.
    • 48 Metascore
    • 50 Charles Taylor
    Everything the first "Mummy" was fun for not being. It's loud and chaotic, jammed with effects that don't wow us precisely because they are trying so hard to wow us.
    • 40 Metascore
    • 50 Charles Taylor
    It's fun, but it isn't believable for a minute.
    • 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.
    • 60 Metascore
    • 50 Charles Taylor
    Even the most spectacular things Woo unleashes here feel strangely impersonal.
    • 35 Metascore
    • 50 Charles Taylor
    Love's Labour's Lost is flawed, but Kenneth Branagh remains our greatest living interpreter of Shakespeare.
    • 51 Metascore
    • 50 Charles Taylor
    Kate Hudson gives the best performance in the movie, though she seems always on the verge of being funnier and dirtier than she's allowed to be. Elsewhere the cast is accumulated for their cachet more than for any role they're given to play. Some of the casting makes no sense.
    • 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."
    • 49 Metascore
    • 50 Charles Taylor
    Conspiracy Theory doesn't know whether it wants to be a comedy, a political thriller, a romance or a satire.
    • 68 Metascore
    • 50 Charles Taylor
    It doesn't take Rea long to decide that he's more interested in extending his record for Longest Acting Career Sustained on One Expression, and he's back to his baggy-eyed, hangdog look.

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