For 943 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 3.2 points higher than other critics. (0-100 point scale)

Ella Taylor's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Lost in Translation
Lowest review score: 0 Book of Shadows: Blair Witch 2
Score distribution:
  1. Negative: 66 out of 943
943 movie reviews
    • 85 Metascore
    • 80 Ella Taylor
    Frances Reid and Deborah Hoffman's heart-stopping, Oscar-nominated documentary about the Truth and Reconciliation Commission is narrow in focus, but broad in its reach for insight into the power of public drama.
    • 85 Metascore
    • 90 Ella Taylor
    The kind of small film -- morally ambiguous, graceful in its admission of imperfect knowledge, at once specific and universal -- that expands our understanding of the emotional economy of family life, with its ebb and flow of love and hostility, secrecy and egregious candor. You must see this film.
    • 85 Metascore
    • 80 Ella Taylor
    A marvelous tribute to a heady age.
    • 84 Metascore
    • 70 Ella Taylor
    Their endless groupings and regroupings, their brief encounters and power struggles are framed by an armory of cinematic devices that will be familiar to any Desplechin devotee.
    • 84 Metascore
    • 90 Ella Taylor
    Notable for its power of surprise and its refusal to immediately clarify the confusion of these lost souls.
    • 84 Metascore
    • 80 Ella Taylor
    Their pain is our pleasure, for though occasionally Apted's bluntness makes you want to take a bite out of his neck, there's something immensely satisfying about watching the playing out of ordinary lives we've become attached to over time.
    • 84 Metascore
    • 90 Ella Taylor
    Not a campy movie. True, it has its ironies, but though you can read it ironically if you wish, Haynes' triumph is that it also plays beautifully straight.
    • 84 Metascore
    • 70 Ella Taylor
    Where Lehane's novel seethes with emotionally charged subtext, Eastwood's workmanlike direction feels static -- fatally tasteful, embalmed in gravitas -- while his sporadic efforts at dramatic heightening come off as vulgar cliché.
    • 84 Metascore
    • 70 Ella Taylor
    Unlike the zippy American medical dramas it apes, The Death of Mr. Lazarescu is paid out with the deliberate slowness of a dray horse straining up a mountain path. With every painstaking turn of the screw that seals Lazarescu's sorry fate, Puiu flirts with tedium, but tedium is the point of this hyperrealist tale, paced in what feels like real time.
    • 84 Metascore
    • 80 Ella Taylor
    For all its hectic comings and goings, though, Kings & Queen is superbly controlled, gracefully shot and edited, and, for its entire 150 minutes, as engrossing as its meanings are opaque.
    • 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.
    • 84 Metascore
    • 70 Ella Taylor
    Momma's Man taps into that ambivalence, and those moments when all of us long to flee adulthood and sink back into being our parents' beloved baby birds, whether or not we ever were in the first place.
    • 84 Metascore
    • 70 Ella Taylor
    The only player in this tawdry round-robin game who moved or seduced me in any way was Andy’s poor, hapless Gina. Tomei’s an ordinary beauty... But she has real screen presence and range, and her neglected wife is an artful inversion of her Oscar-winning role as Danny DeVito’s pert squeeze in "My Cousin Vinny."
    • 84 Metascore
    • 90 Ella Taylor
    Seattle filmmaker James Longley's poetic essay on the plight of ordinary Sunnis, Shiites and Kurds trapped in a war simultaneously waged over their heads and in their faces stands head and shoulders above an overcrowded field of documentaries about the Iraq war.
    • 83 Metascore
    • 90 Ella Taylor
    Adaptation is hardly profound, but it's one of the most soulful and loopily romantic movies I've seen all year.
    • 83 Metascore
    • 90 Ella Taylor
    A humane and precociously wise documentary by the young Los Angeles director Amir Bar-Lev.
    • L.A. Weekly
    • 83 Metascore
    • 85 Ella Taylor
    Nim's suffering is heartbreaking, but Marsh's melodramatic style, with its re-enactments and intense score, sometimes feels bombastic and overblown for a group of people who, aside from the frighteningly detached and morally careless Terrace, seem to be garden-variety neurotics and narcissists, more clueless than willfully cruel.
    • 83 Metascore
    • 80 Ella Taylor
    Molina is an actor of unusually elastic gifts, but unlike Willem Dafoe, who has only to bare his scary teeth to send us all scampering for the exits, there's no getting around the fact that Molina has the face of a kindly basset hound even when it's contorted into a deadly grimace.
    • 83 Metascore
    • 85 Ella Taylor
    The film's director, Sebastian Lelio, is up to all kinds of mischief, the least of which is Gloria's abundant hairdo and outsized spectacles, which give her a slight but unmistakable resemblance to Dustin Hoffman in Sydney Pollack's beloved 1982 comedy, "Tootsie." The movie puts her through hell, but make no mistake: Gloria is a celebration.
    • 83 Metascore
    • 90 Ella Taylor
    Deliciously wicked, strangely poetic portrait (adapted by Patrick McGrath from his own novel) of a schizophrenic man at once tyrannized and elevated by oedipal terrors.
    • 83 Metascore
    • 50 Ella Taylor
    As a character study Vera Drake is coarsely drawn, and as pro-choice polemic, it’s both a blunt instrument and a red herring. Which may be why, among all the moviegoers who staggered from the theater wielding soaked tissues, I was among the few who remained dry of eye, and raised of brow.
    • 83 Metascore
    • 80 Ella Taylor
    The eerily timely subject of Haneke's film is France's unwilling encounter with the disenfranchised minorities it has tried to sweep under the rug. As one who giggled through his widely admired, irredeemably silly "The Piano Teacher," I wasn't prepared to be easily won over by Caché, but it turns out to be his most human and affecting movie to date.
    • 82 Metascore
    • 90 Ella Taylor
    Venus may be a leering male fantasy, but it is also, improbably but persuasively, a love story as tender as it is transgressive. It's a wry celebration of the tyranny of beauty, and the tragicomic way in which desire outruns the betrayals of dying flesh.
    • 82 Metascore
    • 70 Ella Taylor
    Even by my super-wimp standards, Aron's exit is surprisingly coy, coming from a filmmaker who gets his kicks from goosing the hell out of his audiences.
    • 82 Metascore
    • 90 Ella Taylor
    A drama of uncommon beauty and emotional resonance.
    • 82 Metascore
    • 80 Ella Taylor
    A smart, beautiful piece of storytelling, attentive to Le Carré's broad intent, while boldly taking a knife to his more egregious longueurs.
    • 82 Metascore
    • 50 Ella Taylor
    Yet the movie, distilling into purest form the blend of viciousness and sentimentality that informs all Woo's work, winds up as emotionally bogus as it is viscerally overwhelming.
    • 82 Metascore
    • 85 Ella Taylor
    Running through the streets of New York for the sheer hell of it, Frances has the gift of joy to her very marrow. As for Greta Gerwig, I get the feeling she's just gearing up.
    • 82 Metascore
    • 80 Ella Taylor
    A Hijacking is mostly about the excruciating process of getting to "yes" when language is the least of the barriers between two very different mindsets.
    • 82 Metascore
    • 90 Ella Taylor
    The best of the Harry Potter films so far, Harry Potter and the Prisoner of Azkaban is also hands down the scariest, and the deepest.

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