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 Ray
Lowest review score: 0 Air Force One
Score distribution:
  1. Negative: 96 out of 367
367 movie reviews
    • 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.
    • 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.
    • 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.
    • 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.
    • 62 Metascore
    • 50 Charles Taylor
    There's nothing in either the conception or execution to lift it above a TV-movie tear-jerker.
    • 51 Metascore
    • 50 Charles Taylor
    "Star Wars" fans deserve better.
    • 62 Metascore
    • 50 Charles Taylor
    Gives no indication that Jean-Luc Godard has anything left to say that is worth hearing, no indication that he has any drive or passion to continue making movies. What's on the screen is habit -- accomplished, rote, empty.
    • 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.
    • 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.
    • 70 Metascore
    • 50 Charles Taylor
    The picture is moderately diverting. But it's never much fun.
    • 47 Metascore
    • 50 Charles Taylor
    Legally Blonde was content to tickle you. The new one is something akin to a band that has a surprisingly successful debut deciding to rerecord all their originals and release a "Greatest Hits" collection for their second CD. It's both familiar and off.
    • 72 Metascore
    • 50 Charles Taylor
    It's deluxe and handsome and has no soul.
    • 64 Metascore
    • 50 Charles Taylor
    If Jackie Brown lost 45 minutes, it might have been a snazzy entertainment. As it is, it wears out its welcome well before the end.
    • 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?
    • 64 Metascore
    • 50 Charles Taylor
    There's a reason why Looney Tunes cartoons were six minutes long. Stretched out over an hour and a half, they're wearying.
    • 66 Metascore
    • 50 Charles Taylor
    Irritatingly moralistic romantic comedy.
    • 46 Metascore
    • 50 Charles Taylor
    The kind of bland, perky comedy that neuters whoever is spun into its cotton-candy web.
    • 59 Metascore
    • 50 Charles Taylor
    Barbershop 2 is like going out for a bad meal with a group of people you love being with. You're happy to be in their company; you just wish you didn't leave feeling hungry.
    • 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.
    • 39 Metascore
    • 50 Charles Taylor
    The plot construction here is especially lazy. The whole movie is built toward the dance competition.
    • 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.
    • 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.
    • 56 Metascore
    • 50 Charles Taylor
    Sructured like a Mad magazine parody where there's a promised joke in each frame. It doesn't add up to a movie.
    • 38 Metascore
    • 50 Charles Taylor
    If a couple who belonged to the Christian Coalition, or your maiden aunt, or George and Laura Bush were looking for a reassuring night out, Raising Helen would fit the bill nicely.
    • 57 Metascore
    • 50 Charles Taylor
    A dragging, rhythmless piece of work.
    • 56 Metascore
    • 50 Charles Taylor
    The movie is efficient but scores zero in suspense, wit or class.
    • 71 Metascore
    • 50 Charles Taylor
    To borrow a phrase from Pauline Kael, Intimate Strangers suggests bits of Alfred Hitchcock and bits of Woody Allen. But the wrong bits.
    • 40 Metascore
    • 50 Charles Taylor
    It's fun, but it isn't believable for a minute.
    • 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.

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