For 120 reviews, this critic has graded:
  • 56% higher than the average critic
  • 0% same as the average critic
  • 44% lower than the average critic
On average, this critic grades 2.6 points lower than other critics. (0-100 point scale)

Drew Taylor's Scores

  • Movies
Average review score: 57
Highest review score: 100 Whitey: United States of America v. James J. Bulger
Lowest review score: 0 Winter's Tale
Score distribution:
  1. Positive: 64 out of 120
  2. Negative: 32 out of 120
120 movie reviews
    • 72 Metascore
    • 100 Drew Taylor
    ParaNorman is a micro-sized masterpiece that wears its heart (and its half-eaten brains) on its sleeve.
    • 82 Metascore
    • 100 Drew Taylor
    As a documentary and a love story, Cutie and the Boxer is nothing short of breathtaking.
    • 59 Metascore
    • 100 Drew Taylor
    The movie is zippy and funny...and more emotional than the man himself would ever allow himself to be. It’s a triumph.
    • 74 Metascore
    • 100 Drew Taylor
    As far as animated movies go, it doesn't get that much better than Frozen. It's a new Disney classic.
    • 63 Metascore
    • 100 Drew Taylor
    It’s bold, beautifully told, and surprisingly funny.
    • 82 Metascore
    • 100 Drew Taylor
    The Lego Movie is an absolute blast—a whip-smart, surprisingly emotional family film where the toy property is seen less as a concrete template than a tool for seemingly limitless potential.
    • 74 Metascore
    • 100 Drew Taylor
    What makes Joe Berlinger’s riveting new true crime doc Whitey: The United States vs. James J. Bulger such an eye-opener is that it isn’t just about a bad guy who did bad things, but the layers of corruption and moral ambiguity that stacked up on both side of the law.
    • 74 Metascore
    • 91 Drew Taylor
    It says something, then, that Burton's best, most enjoyable, and most emotionally resonate film in years is actually an adaptation of one of his very first projects: Frankenweenie.
    • 48 Metascore
    • 91 Drew Taylor
    The results are a disturbing mixture of paranormal ghost story and psychological unease.
    • 63 Metascore
    • 91 Drew Taylor
    Eden may be unpleasant, but it's not as grim as you'd imagine, and always compulsively watchable. If only all issue movies were this entertaining.
    • 65 Metascore
    • 91 Drew Taylor
    It’s easily the most enjoyable animated film so far this year, one that is visually stunning, wickedly subversive, incredibly funny (Day's character is a hoot), and (at times) lump-in-your-throat emotional.
    • 53 Metascore
    • 91 Drew Taylor
    A welcome change of pace and a truly hilarious, heartfelt experience.
    • 61 Metascore
    • 91 Drew Taylor
    It's one of the most unexpectedly enjoyable cinematic experiences of the year, even if you couldn't pick a Metallica track out of some hypothetical never-ending playlist.
    • 40 Metascore
    • 91 Drew Taylor
    Our Day Will Come is the kind of polarizing, in-your-face movie that we too rarely see in cinema these days.
    • 68 Metascore
    • 91 Drew Taylor
    Neighbors is one of the funniest, most visually inventive studio comedies in recent memory.
    • 91 Metascore
    • 91 Drew Taylor
    It's a new vampire classic, one to treasure endlessly.
    • 77 Metascore
    • 91 Drew Taylor
    The specificity of the documentary, staying within the walls of the boot camp for virtually the entire movie, is one of its biggest strengths since it is able to place you right alongside these kids.
    • 61 Metascore
    • 83 Drew Taylor
    Viscerally, The Bourne Legacy packs a punch. If you're looking for a traditional sequel though, you'll probably be disappointed, but if it's a whole new ride you're after, you've come to the right place. Bourne has indeed been reborn.
    • 50 Metascore
    • 83 Drew Taylor
    In terms of pure pop entertainment value, you'll be hard-pressed to find a more smartly constructed, beautifully shot, pulse-pounding movie this holiday season.
    • 53 Metascore
    • 83 Drew Taylor
    A gloriously decadent, gorgeously photographed melodrama – a movie where people burst into tears and act very badly towards each other, all while wearing really fabulous clothes.
    • 39 Metascore
    • 83 Drew Taylor
    Oplev composes shots with grace and an understanding of where everything is geographically and how scenes relate to each other in the multi-threaded plot. Like everything else in Dead Man Down, his direction is beautiful and brutal at the same time. Whoever thought that this movie would be as entertaining as it is existential is either lying or psychic.
    • 47 Metascore
    • 83 Drew Taylor
    It'll get your blood pumping, before it starts spilling down your forehead.
    • 41 Metascore
    • 83 Drew Taylor
    The Purge manages to be smart, scary, and subversive.
    • 43 Metascore
    • 83 Drew Taylor
    Genre movies are rarely this finely calibrated and nuanced and it’s all too infrequently that Statham is able to perform in material this dynamic.
    • 61 Metascore
    • 83 Drew Taylor
    It's easily the scariest movie since "The Conjuring," and in some ways is a deeper and more satisfying film. It's stylish but not showy, more concerned with the thematic undercurrents coursing just beneath the surface.
    • 65 Metascore
    • 83 Drew Taylor
    Even without an active political component, Island of Lemurs: Madagascar, on a purely visual level, is one of the more amazing things you're likely to see in a theater this year.
    • 68 Metascore
    • 83 Drew Taylor
    What's amazing about the documentary, though, is that it's oftentimes just as engaging as the Disney bears that play in jug bands or crave ooey-gooey honey.
    • 45 Metascore
    • 83 Drew Taylor
    If The Protector 2 was dour, then it would also become totally unconvincing. Sure, it's silly, but it's also wildly entertaining and sprinkled with some nice emotional beats. As long as Tony Jaa keeps losing his elephant, we'll keep showing up to watch him track it down.
    • 56 Metascore
    • 83 Drew Taylor
    It's a different kind of Disney sports movie, more textured, gently spiritual and warmly idiosyncratic, but one that still, before the credits roll, will make you want to stand up and cheer.
    • 48 Metascore
    • 83 Drew Taylor
    Made in America proves that the American dream is undeniably powerful, even to those who have accomplished so much that they have to appreciate it in a form that borders on the abstract.
    • 49 Metascore
    • 75 Drew Taylor
    Handsomely animated and features a story that, while hopelessly familiar, at least seems to be part of a whole. Also, there are pirates. So there's that.
    • 47 Metascore
    • 75 Drew Taylor
    Hotel Transylvania is very different from its contemporaries. You just wish that, with so much emphasis on chaos, they could have spent a little more time on character.
    • 37 Metascore
    • 75 Drew Taylor
    Whether or not you've steeped in film noir lore, Hotel Noir still plays like an enjoyable little thriller.
    • 65 Metascore
    • 75 Drew Taylor
    Levinson is interested in humanity, in the small moments that make us who we are, and it's these moments that make The Bay so chilling.
    • 75 Metascore
    • 75 Drew Taylor
    The picture's conspiratorial late-night tone and fleshy after hours luridness was practically built for watching at night, when our parents think we've gone off to bed (think '80s films directed by folks like Adrian Lyne).
    • 48 Metascore
    • 75 Drew Taylor
    If Kiss of the Damned has one thing, it's an identifiable groove, one that is sustained and very, very infectious.
    • 66 Metascore
    • 75 Drew Taylor
    Barrett and Wingard are clever filmmakers, but unlike many modern day horror directors, their cleverness never gets in the way. There's an earnestness to the entertainment in You're Next that is truly admirable, and at the end of the day it's a super enjoyable way to spend an hour and a half.
    • 49 Metascore
    • 75 Drew Taylor
    V/H/S/2 is a whole lot of fun.
    • 66 Metascore
    • 75 Drew Taylor
    There’s always been something romantic and powerful about relationships primarily built on letter-writing, and that’s true for Shepard and Dark too.
    • 53 Metascore
    • 75 Drew Taylor
    With its tongue placed firmly in cheek (it is, after all, called Big Ass Spider), it delivers on a whole bunch of laughs and thrills, in a way that some big budget spectaculars can't even muster.
    • 54 Metascore
    • 75 Drew Taylor
    There’s a restless inventiveness to many of the gags that are matched only by the outrageousness of their surroundings.
    • 55 Metascore
    • 75 Drew Taylor
    Heisserer is able to keep the thrills coming while maintaining an emotional tether to the character and the situation. While occasionally the movie veers into the realm of implausible melodrama, it's a well-modulated affair and knows exactly when to pull itself back from the brink.
    • 31 Metascore
    • 75 Drew Taylor
    At the very least, Fantastic Fear of Everything has a fantastic central performance. And sometimes that's enough.
    • 56 Metascore
    • 75 Drew Taylor
    Non-Stop isn't exactly a smooth ride, but as far it being the big screen equivalent of an airplane novel, one that you read on the flight and throw away when you get to your destination, it is wildly successful. Just don't think too hard about it.
    • 45 Metascore
    • 75 Drew Taylor
    Odd Thomas is a much better film than it's non-release would suggest. Hopefully one day it'll find it's audience and people will appreciate it for something other than just being better than "Phantoms."
    • 62 Metascore
    • 75 Drew Taylor
    As pithy and sharp-witted as the screenplay is ... the direction by series creator Rob Thomas ... is oftentimes flat and visually dull. ... And so the movie, is more than anything, a bold and breathless work of fan service, configured by the creators of the original series for the maximum enjoyment of the fans of the original series.
    • 64 Metascore
    • 75 Drew Taylor
    Unlike most movies that use the current economic crisis as a dramatic backdrop, Healy's character is vibrant enough that the audience can make an easy connection and go through the journey with him.
    • 54 Metascore
    • 75 Drew Taylor
    Draft Day isn’t a movie that is going to change lives or shift paradigms, but it is entertaining, and assembled with care and attention to detail.
    • 48 Metascore
    • 75 Drew Taylor
    Planes: Fire and Rescue serves as a dramatic improvement over the original, introducing thrilling action sequences backed by actual stakes and an unexpected emotional dimension, all on top of upgraded animation and a greater emphasis on character.
    • 48 Metascore
    • 67 Drew Taylor
    With just a little bit more prodding and elaboration, the movie could have been rich and evocative. Even if you don't believe what he preaches, the movie (at least) could have bordered on a transcendent experience. As it stands, it's pretty good, but not exactly heavenly.
    • 52 Metascore
    • 67 Drew Taylor
    Writer/director Richard LaGravenese tries his damnedest to deftly navigate the clunky plot, and while it's not exactly a home run, it's still an incredibly stylish, evocative, edgy (was that an incest reference?) and frequently funny (there's even a Nancy Reagan joke) Southern Gothic romance.
    • 39 Metascore
    • 67 Drew Taylor
    Thankfully, as the movie goes along, he tempers his bloodlust, instead engaging in sequences that up the suspense and terror while not exclusively luxuriating in the bloodshed.
    • 39 Metascore
    • 67 Drew Taylor
    When Planes really takes flight, it can be boldly transporting. Other times, though, it feels like it's running low on jet fuel, full of limp characterizations and questionable set pieces.
    • 49 Metascore
    • 67 Drew Taylor
    Riddick, as a character, is best when he's alone, fighting against insurmountable odds, with narratives that serve his singular nastiness.
    • 33 Metascore
    • 67 Drew Taylor
    If there's a problem that gets in the way of some genuinely scary moments, it's that the filmmakers (all four of them) don't ever give you enough information to invest in the characters.
    • 52 Metascore
    • 67 Drew Taylor
    Turns out it was even trickier than originally imagined and that for all of its best efforts, The Monuments Men remains an unwieldy, overtly sentimental (but still emotionally distant) epic.
    • 40 Metascore
    • 67 Drew Taylor
    3 Days to Kill might not be art, but it's better than most of the overtly violent action fare that litters the multiplexes these days, thanks largely to the fact that its heart is almost as big as its explosions.
    • 40 Metascore
    • 67 Drew Taylor
    In Brick Mansions Walker is understated and tough, a continued testament to his frequently overlooked accomplishments as a performer. You just wish the movie surrounding him was better.
    • 41 Metascore
    • 67 Drew Taylor
    While the movie is not without its charms, there's nothing indicating that it's actually a Hammer movie.
    • 52 Metascore
    • 67 Drew Taylor
    What Ping Pong Summer lacks in conviction or ingenuity, it makes up for in heart. The nostalgia that the entire film is built upon doesn’t seem misplaced.
    • 42 Metascore
    • 67 Drew Taylor
    Under the Electric Sky shows you the transformative, incredibly positive power of dance music, but in terms of a movie, it falls a little flat.
    • 59 Metascore
    • 58 Drew Taylor
    Apatow indulges in his freeform tendencies to a particularly destructive degree with This is 40, resulting in a movie in which the ambitions are only equaled by the shortcomings.
    • 61 Metascore
    • 58 Drew Taylor
    Quite frankly, The Jeffrey Dahmer Files would have been better if it had a little more meat on its bones.
    • 59 Metascore
    • 58 Drew Taylor
    It might be overlong, overstuffed, and occasionally operatic, but that doesn't mean that it can wring the tears out of you.
    • 53 Metascore
    • 58 Drew Taylor
    All in all, Earth to Echo is passable family entertainment, neither unforgettable nor particularly bad.
    • 86 Metascore
    • 50 Drew Taylor
    There's something deeply poetic about Lincoln making his way through a changed nation to meet his demise. Such poetry is nowhere to be found in Lincoln.
    • 51 Metascore
    • 50 Drew Taylor
    Alien abductions are a truly terrifying idea, and building an alien abduction movie on the template of "Poltergeist" is a great idea. But "Poltergeist" had one thing Dark Skies is sorely in need of: follow-through.
    • 57 Metascore
    • 50 Drew Taylor
    Rubberneck is a thriller too drab and self-obsessed to ever be truly thrilling.
    • 66 Metascore
    • 50 Drew Taylor
    The pleasure and the pain are all up there on the screen; we just wish it was less painful to watch.
    • 37 Metascore
    • 50 Drew Taylor
    Chun admirably attempts to make each thriller-y motion mean a little bit more. But oftentimes he fails, and the back half of the movie is filled with perfunctory suspense set pieces, doused in blood and full of trauma, that leave little impact.
    • 45 Metascore
    • 50 Drew Taylor
    Unfortunately, this low budget chiller is unable to capture the same kind of awe and terror that made "The Thing" so powerful, although its attempt to be more character-based and emphasis on practical effects is somewhat admirable. Somewhat.
    • 36 Metascore
    • 50 Drew Taylor
    At 100-minutes, the movie drags and drags until finally losing steam in the last act and then collapses into a pile of worn out platitudes, limp gross out gags and gooey sentiment.
    • 45 Metascore
    • 42 Drew Taylor
    Here everything feels limp – simultaneously over and undercooked. It doesn't leave much of an impression and every scare seems to be either some lame jump scare or a fright inflicted by the shrill score.
    • 60 Metascore
    • 42 Drew Taylor
    Citadel, which won the Midnight award at the fest, further explores the fears and anxieties of urban Britain (and Ireland), and the results are sometimes scary, sometimes silly, and always politically questionable.
    • 50 Metascore
    • 42 Drew Taylor
    Overall, there is a fundamental lack of excitement or energy; it's a 95-minute movie that feels twice as long as "The Hobbit."
    • 49 Metascore
    • 42 Drew Taylor
    There are filmmakers who are able to weave social commentary through the arena of big budget entertainment, without having it come across as lopsided or boring; Allen Hughes, it turns out, is not one of these filmmakers.
    • 41 Metascore
    • 42 Drew Taylor
    The movie is so apolitical; there could have been a nice slant to the movie, about how both sides of the aisle could get together to kick out these Korean terrorists. Instead, it remains totally void.
    • 62 Metascore
    • 42 Drew Taylor
    You just wish that the kind of attention lavished on the visuals of Despicable Me 2 could have carried over to its storytelling. Despicable Me 2 lacks emotion and depth, and all the minions in the world can't make up for that.
    • 79 Metascore
    • 42 Drew Taylor
    When the final moment comes and it's revealed how the children died, it's less of a surprise than a shrug. Drama robbed of suspense is just dull.
    • 60 Metascore
    • 42 Drew Taylor
    The message, like the filmmaking, seems fuzzy and unfocused.
    • 57 Metascore
    • 42 Drew Taylor
    Jack Ryan: Shadow Recruit refashions the character (this time played by Chris Pine) into a man of immediate action, and in doing so drains him of anything that made him a relatable human being.
    • 42 Metascore
    • 42 Drew Taylor
    24 Exposures has a handful of interesting ideas, and a lot of cute topless girls, but it doesn’t add up to much.
    • 59 Metascore
    • 42 Drew Taylor
    It's the accumulation of a set of ideas that a bunch of creative types and executives think would be clever, instead of something that actually delivers on an engaging entertainment level.
    • 49 Metascore
    • 42 Drew Taylor
    You get the sense that Rio 2 wasn't thought through as much as it was quickly cobbled together as it went along, with a simple, clearheaded goal in mind: just make it good enough to warrant a "Rio 3."
    • 56 Metascore
    • 42 Drew Taylor
    Maleficent desperately tries to create a character whose motivation you will understand and empathize with. But the screenplay and direction are such a tangled, thorny patch of conflicting ideas that it's hard to tell what that motivation is supposed to be.
    • 18 Metascore
    • 25 Drew Taylor
    A plodding, undercooked, and old-fashioned (not in a good way, either) chiller that will bore you to tears instead of scare you to death.
    • 52 Metascore
    • 25 Drew Taylor
    The road to hell is paved with good intentions, and in a few months it will also be paved with unwatched DVD copies of The Tall Man.
    • 40 Metascore
    • 25 Drew Taylor
    Paranormal Activity 4 is listless, dreadful and boring, an almost painfully inert and superficial ghost story that lacks specificity or scares. Time to turn the camera off, guys.
    • 45 Metascore
    • 25 Drew Taylor
    It's hard to tell who is to blame for the movie's abrasive anonymousness – Curtis or Apted – but it hardly matters. In either directors' hands, Chasing Mavericks would have been a wipe-out. It's totally bogus.
    • 52 Metascore
    • 25 Drew Taylor
    Watching Deadfall really is like being trapped in a blizzard – the cinematography is so muddy you can barely make out what's going on on screen (besides the bright splashes of blood) – you're antsy to be anywhere else but where you are.
    • 43 Metascore
    • 25 Drew Taylor
    This newest film is an undercooked potboiler, one so tastelessly bland and visually indistinguishable that you wonder if anyone associated with the project realized what makes cheapo crime fiction so fun to consume.
    • 35 Metascore
    • 25 Drew Taylor
    With long stretches (we're talking 20-30 minutes) without a single guffaw, Identity Thief is aggressively dull, and will joylessly steal two hours of your life that you will never get back.
    • 51 Metascore
    • 25 Drew Taylor
    Snitch is just a big, dumb, ugly-looking waste of time, one that turns one of cinema's most charismatic heroes into a restless drone. As they say in the joint: snitches get stitches. But Snitch deserves to be put down for good.
    • 35 Metascore
    • 25 Drew Taylor
    It’s the kind of garbage that does a disservice to the fearless possibilities of the horror genre and its knack for sly social commentary.
    • 34 Metascore
    • 25 Drew Taylor
    For a movie that tries to create and sustain a sensation of wild unpredictability, it's a huge failure. It's not shocking if we've all seen it a thousand times before. With 21 and Over, it's all been there, drank that.
    • 50 Metascore
    • 25 Drew Taylor
    I Give It a Year groans on, with unmemorable scene after unmemorable scene, each one more contingent on coincidence and happenstance than by the actual, gear-filled mechanics of drama or comedy.
    • 58 Metascore
    • 25 Drew Taylor
    One of the more disappointing big studio animated features this year, a movie can't even muster the energy to be visually engaging, let alone give you anything to care about story-wise.
    • 34 Metascore
    • 25 Drew Taylor
    The Smurfs 2 doesn't even pretend to be anything more but the most base, sugar-coated family entertainment, the kind of things that parents won't even be able to comprehend, much less enjoy.
    • 49 Metascore
    • 25 Drew Taylor
    It's utterly unconvincing and not scary in the slightest.
    • 33 Metascore
    • 25 Drew Taylor
    No matter how good The Mortal Instruments: City of Bones looks, it's hard to really care about anything that's going on, and not just because we could barely understand it.
    • 56 Metascore
    • 25 Drew Taylor
    What's interesting about Proxy is that it plays with all of the ephemera associated with pregnancy – the way that a person's psychology can warp around it – but too often gets bogged down in B-movie clichés and an unnecessarily convoluted narrative that strives for profundity but comes across as crass and dull.
    • 31 Metascore
    • 25 Drew Taylor
    A movie that is, in its subtle way, as offensive and mean-spirited as anything Sandler has done, but in a way that is so cuddly, there's the possibility it could, somehow, go unnoticed.
    • 39 Metascore
    • 25 Drew Taylor
    Tammy is a boring, unfunny road movie that limps along idly, consisting of a string of nonsensical set pieces and halfhearted stabs at character development that come across as off-putting and odd.
    • 20 Metascore
    • 16 Drew Taylor
    Whatever Branded is selling, we aren't buying.
    • 39 Metascore
    • 16 Drew Taylor
    It's a testament to the movie's lack of creativity that Anderson can't even rip off "Aliens" and have it come across as anything less than totally boring.
    • 31 Metascore
    • 16 Drew Taylor
    We assure you, it's not worth taking a trip to down to the House at the End of the Street. Something horrible might have happened there, but it can't be worse than this movie.
    • 30 Metascore
    • 16 Drew Taylor
    Alex Cross is more boring than your average weeknight procedural, except much longer, dumber and more violent.
    • 38 Metascore
    • 16 Drew Taylor
    The characters are so two-dimensional that a meaningful connection with the material isn't elusive; it's downright impossible.
    • 22 Metascore
    • 16 Drew Taylor
    A movie so ugly and woeful that you'll wish you had superhuman strength to pluck your own eyeballs out of your head.
    • 68 Metascore
    • 16 Drew Taylor
    While the more down-to-earth Chef does offer some fascinating autobiographical dimensions, the film is also an overlong, unfunny, largely insufferable bore.
    • 20 Metascore
    • 0 Drew Taylor
    Anyone watching Assassin's Bullet will be gripped with a similar sensation -- to be anywhere but watching this movie.
    • 15 Metascore
    • 0 Drew Taylor
    One step worse than most of these video game movies. It feels less like a game and more like what happens when you leave your PlayStation on and it becomes a kind of dim screensaver. If we had a controller in our hand, we would probably throw it at the screen.
    • 44 Metascore
    • 0 Drew Taylor
    It's a comedy so out of touch that jokes disappear before they're even delivered, as if by magic.
    • 23 Metascore
    • 0 Drew Taylor
    It's understandable that larger scale movies will want to spawn sequels, but this is about two degrees away from being a movie that premieres on Cinemax on a Friday night, sandwiched between two soft core porn movies with funny titles. Getaway is stuck in neutral. And that's where it'll stay.
    • 30 Metascore
    • 0 Drew Taylor
    This movie is a corpse in desperate need of reanimation.
    • 31 Metascore
    • 0 Drew Taylor
    The entire movie feels belabored, lumbering from one awful, over-dressed set piece to another. It's wrongheaded, it's horrendous, it's filled with lines of dialogue that are utter howlers, and yet, it's the type of movie that feels so confident that it really is something. It is, in fact, not.
    • 45 Metascore
    • 0 Drew Taylor
    It’s a lifeless, meandering, overlong (116 minutes!) trudge through the oversized ego of its creator, full of wrong-headed humor and inept filmmaking.