For 942 reviews, this critic has graded:
  • 52% higher than the average critic
  • 3% same as the average critic
  • 45% lower than the average critic
On average, this critic grades 5.1 points higher than other critics. (0-100 point scale)

Ella Taylor's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Pan's Labyrinth
Lowest review score: 0 Burzynski
Score distribution:
  1. Negative: 66 out of 942
942 movie reviews
    • 86 Metascore
    • 100 Ella Taylor
    I’m Going Home is as much an ambiguous poem to Paris as it is a study in artistic and physical mortality, and an elegy for a more decent past as it gives way to a brassier, more corrupt new century.
    • 76 Metascore
    • 100 Ella Taylor
    There are moments here that are so distinct in emotional timber it's as if they were directed by someone who'd skipped the last two decades of American genre film and opted to get back to basics -- like character, and the ways in which two actors can sit in a smoke-filled car and turn an everyday conversation into art.
    • 90 Metascore
    • 100 Ella Taylor
    At his best, Altman turns us into interlopers who have stumbled into a world that seems to predate us and persuades us it will continue to teem with life long after we leave the theater.
    • 86 Metascore
    • 100 Ella Taylor
    Talk to Her is as melodramatic -- and, sporadically, as funny -- as any Almodóvar comedy, but its mood is one of muted, aching loneliness, while the color scheme leans less to hot reds and magentas than to rich, elegant shades of ochre.
    • 89 Metascore
    • 100 Ella Taylor
    Fraught with a deep sadness and sense of yearning. Yet, it is also an enormously -- at times, even uproariously -- comedic film, not because it feels any obligation to be "funny" in some contrived, screenwriterly sort of way, but because Coppola has set out to make a movie set to the rhythms of real (rather than reel) life.
    • 91 Metascore
    • 100 Ella Taylor
    This divinely eccentric movie feels as if it came straight to the screen from one man’s wild and wantonly free imagination.
    • 70 Metascore
    • 100 Ella Taylor
    Sex holds in perfect tonal balance, and without cynicism, a brew of maliciously transgressive comedy and tender sympathy for its tortured characters, all gripped by terror of love, or sex, or both.
    • 84 Metascore
    • 100 Ella Taylor
    The movie's scale is minuscule, but the physical and emotional landscapes it travels are as broad, deep and mysterious as the human psyche itself.
    • 98 Metascore
    • 100 Ella Taylor
    Pan's Labyrinth Like his terrific 2001 "The Devil’s Backbone," Mexican horrormeister Guillermo del Toro's new movie offers us both real-life and fantastical monsters, and if you know his work, you won't waste time figuring out which to root for.
    • 97 Metascore
    • 100 Ella Taylor
    Though the frighteningly late-term abortion at its center hints at larger sins in the last gasp of Nicolae Ceausescu’s iron-fisted regime, it’s no metaphor, but a sordidly visceral transaction conducted in the next best thing to a back alley.
    • 69 Metascore
    • 100 Ella Taylor
    Not just one of the best Hollywood movies about race, but, along with "Collateral," one of the finest portrayals of contemporary Los Angeles life period.
    • 85 Metascore
    • 95 Ella Taylor
    Vincere, which comes as close to grand opera as can be achieved without anyone actually bursting into song, feels like a big movie -- handsomely mounted, full of dark shadows counterpointed with stray shafts of light, with dramatic close-ups of faces driven by passion and madness and heavy silences brutally interrupted by clashing tympani.
    • 85 Metascore
    • 95 Ella Taylor
    The screenplay, by Peter Straughan and his late wife, Bridget O'Connor, is debonair. Alfredson's mastery of tone and ambiance is flawless. The bloodletting is brief and necessarily appalling, the comedy mordant: I guarantee you will never sing along to "Mr. Woo" in quite the same way again.
    • 90 Metascore
    • 95 Ella Taylor
    If you pay close attention, there's also an exhilarating evocation of how art is stubbornly made, and arbitrary authority put in its place, under the most confining conditions. Rene Magritte, whose famous pipe painting is slyly honored in the movie's title, would be jazzed.
    • 86 Metascore
    • 95 Ella Taylor
    Without ever saying so, the movie adds up to nothing less than a social psychology of the nervous, spiritually questing geist of post-World War II America.
    • 86 Metascore
    • 95 Ella Taylor
    ACT UP soldiers on today, as it must, given the lack of official attention to the resurgence of HIV among young American men in metropolitan areas.
    • 83 Metascore
    • 90 Ella Taylor
    A humane and precociously wise documentary by the young Los Angeles director Amir Bar-Lev.
    • L.A. Weekly
    • 82 Metascore
    • 90 Ella Taylor
    May turn out to be the finest American indie of the year.
    • 84 Metascore
    • 90 Ella Taylor
    Notable for its power of surprise and its refusal to immediately clarify the confusion of these lost souls.
    • 93 Metascore
    • 90 Ella Taylor
    In the nearly 30 years since the movie was released (it won an Oscar for Best Foreign Film in 1972), one forgets how falling-about-funny is this mad caper.
    • 85 Metascore
    • 90 Ella Taylor
    Speaks so eloquently for itself, there's not much more for me to do than urge you to get over to the Nuart for the one week it's playing in Los Angeles.
    • 76 Metascore
    • 90 Ella Taylor
    A waterlogged little jewel of a Chinese movie that you must rush out and see at once or else.
    • 75 Metascore
    • 90 Ella Taylor
    Though Kippur seems a creature radically different -- more nakedly autobiographical, more naturalistic, more forgiving -- from Gitai's highly conceptual and stylized body of work, there are clear thematic continuities.
    • 74 Metascore
    • 90 Ella Taylor
    The kind of art film that's rarely seen anymore -- the kind that trusts the audience to be as intelligent as the director.
    • 78 Metascore
    • 90 Ella Taylor
    Has a marvelous, pent-up passion.
    • 78 Metascore
    • 90 Ella Taylor
    Superbly adapted by Fred Schepisi from the Booker Prize-winning novel by Graham Swift, Last Orders pays quietly passionate tribute to the unsung working-class generation that fought World War II and survived to take up apparently humdrum lives.
    • 78 Metascore
    • 90 Ella Taylor
    Genuine thriller -- with one crisis hurtling after another, heightened by hauntingly brief moments of peace.
    • 59 Metascore
    • 90 Ella Taylor
    Confidence grooves on the giddy joy of storytelling -- on the digressive whimsy of good dialogue, on playful editing, on the ways in which con men -- and filmmakers -- psych out their victims.
    • 89 Metascore
    • 90 Ella Taylor
    The movie survives beautifully both as an elegant thriller and as a study of the twisted infantilism that shapes the fanatic heart.
    • 66 Metascore
    • 90 Ella Taylor
    Tuck Everlasting is a wise and beautiful poem to the idea that the fundamental human tragedy is not death, but the unlived life.