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 2.4 points higher than other critics. (0-100 point scale)

Ella Taylor's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 The Opposite of Sex
Lowest review score: 0 Burzynski
Score distribution:
  1. Negative: 66 out of 943
943 movie reviews
    • 74 Metascore
    • 80 Ella Taylor
    The director juggles different points of view with aplomb, and her strong script addresses with impressive subtlety the gap between what people say and what they do under extreme pressure.
    • 75 Metascore
    • 75 Ella Taylor
    The resulting documentary, Finding Vivian Maier, might better have been titled Constructing Vivian Maier — not because the filmmakers came up empty-handed, but because what they found out sheds too neat and tidy a light on her unsparing, yet warmly sympathetic portraits of the denizens of Chicago's seamy underside.
    • 28 Metascore
    • 15 Ella Taylor
    Along with the rest of the movie's fine cast, Franco presumably believes he is in the presence of art. Me, I know a fire hose when I see one.
    • 76 Metascore
    • 80 Ella Taylor
    Resolutely descriptive, It Felt Like Love doesn't exactly have a plot, which feels absolutely right for a film whose elliptical yet intensely focused visual style seem to flow directly from Lila's consciousness.
    • 62 Metascore
    • 75 Ella Taylor
    Two Lives makes a decent thriller, though it does seem a touch overloaded with grainy flashbacks and plotty flourishes retrieved from Sergei Eisenstein (or perhaps Brian De Palma). Not that these faults matter much: The most ham-fisted filmmaker couldn't ruin the incendiary material on which this tale is built.
    • 77 Metascore
    • 65 Ella Taylor
    Like the (far superior) recent Russian film "Elena," Child's Pose paints a compelling portrait of post-Soviet capitalism in all its uncorked appetites, its brash cronyism and graft, its pretensions, its clueless philistinism.
    • 61 Metascore
    • 65 Ella Taylor
    What's refreshing, though, is Coffey's skeptical but affectionate feel for the tenacious strivers who cling like limpets to the margins of every arts scene, often for precious years of their impoverished lives.
    • 80 Metascore
    • 90 Ella Taylor
    Murmelstein died in Rome in 1989, and having witnessed the terrible dilemmas he suffered and the mass rescues he pulled off, we can only be glad that he escaped the snap judgments of the social-media age.
    • 60 Metascore
    • 70 Ella Taylor
    Though it's fun to watch Garcia let out his inner goofball, the jewels in the crown of At Middleton are the dynamic sisters Farmiga.
    • 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.
    • 57 Metascore
    • 80 Ella Taylor
    Generation War holds the line admirably in showing how totalitarianism corrupts almost everything in its path, individual responsibility included, and creates an appalling space where sadists and conformists alike can flourish and break every rule of war at will.
    • 41 Metascore
    • 60 Ella Taylor
    Despite some very welcome black comedy — Jimmi Simpson appears delightfully, but too briefly, as a passive-aggressive co-worker who threatens to unravel the cocoon of delusion in which Emanuel has wrapped herself — the movie, trapped in the weeds of self-pity and skin-deep badassery, never quite earns the sympathy it so strenuously solicits.
    • 60 Metascore
    • 75 Ella Taylor
    Berg is relentlessly unsparing.
    • 54 Metascore
    • 60 Ella Taylor
    Like most of LaBute's work, Some Velvet Morning ends as it begins, more clever than wise.
    • 65 Metascore
    • 75 Ella Taylor
    Saving Mr. Banks does end in tears, but they're Disney tears, as befits a movie about Disney made by Disney. Which doesn't mean you shouldn't see this beguiling piece of pop storytelling, built on half-truths whipped into shape for a storybook ending that never was.
    • 67 Metascore
    • 90 Ella Taylor
    Tautly written by Rona Segal and expertly observed by Jonathan Gurfinkel, a documentarian and TV producer who worked on the hilarious Israeli satire Eretz Nehederet, S#x Acts operates almost exclusively at the behavioral level. Suspended between titillation and despair, the movie firmly implicates us in its voyeurism.
    • 75 Metascore
    • 75 Ella Taylor
    At its best, The Punk Singer tells the story of one pivotal life in a whole movement. Both Anderson and Hanna are at pains to avoid giving the impression that one singer carried the movement single-handedly.
    • 64 Metascore
    • 75 Ella Taylor
    That she continues to invite not just Beyoncé and Katy Perry but millions of adoring men and women along for the ride is icing on the cake.
    • 86 Metascore
    • 90 Ella Taylor
    The ghost of Federico Fellini hovers wickedly over The Great Beauty, a fantastic journey around contemporary Rome and a riot of lush imagery juggling past and present, sacred and profane, gorgeous and grotesque.
    • 67 Metascore
    • 70 Ella Taylor
    If Gibney was looking for contrition, though, he didn't find it. Armstrong is candid about his doping and his legendary belligerence with the press. But he's confessing, not apologizing. And that "maybe not," mumbled to Oprah, is about as equivocal as he gets — on or off camera.
    • 55 Metascore
    • 85 Ella Taylor
    Costa-Gavras' film excels as a meticulously researched procedural that goes deep into the grime of greed, deception and cynical exploitation. But it is also a wickedly clever character analysis of a man more divided against himself than his preternatural calm suggests.
    • 87 Metascore
    • 80 Ella Taylor
    All is Lost is as quiet as "Margin Call" was chatty; at a minimum, you might call this film a procedural. But like the best of the genre, its relentless focus on the material and the practical also gestures subtly at a life of the soul, however battered.
    • 58 Metascore
    • 50 Ella Taylor
    True, Escape From Tomorrow, a handsomely mounted gallery of Mouse House cuteness inverted into grotesquerie, looks a sight more artful than do most home movies. But as an expose of Disney's manufactured happiness, and by extension the sins of corporate capitalism, it's pretty stale news.
    • 51 Metascore
    • 45 Ella Taylor
    Awkward, incoherent and plodding.
    • 69 Metascore
    • 75 Ella Taylor
    There's heroism and an escape of sorts in Out in the Dark — but in Mayer's despairing vision, there are no winners.
    • 78 Metascore
    • 75 Ella Taylor
    If the sum of Enough Said is less than its parts — and really, the midlife challenges here are pretty small potatoes — the movie does have some lovely grace notes that add up to an astute observation of the symbiosis of single mothers and their daughters.
    • 70 Metascore
    • 80 Ella Taylor
    Among other things, this powerfully confused man is a study in American extremity.
    • 55 Metascore
    • 75 Ella Taylor
    The cast is more than game. DeWitt's Abby is earnest and searching and a little bit nuts, but we're never encouraged to see her as dumb, credulous or pathetic.
    • 37 Metascore
    • 45 Ella Taylor
    To begin with, how painful is it to watch actors as intelligent as Naomi Watts and Robin Wright mug their way through the story of two hard-bodied middle-aged Australian besties hitting the sack with one another's teenaged sons?
    • 50 Metascore
    • 45 Ella Taylor
    Even as a fantasy about where a lack of transparency might go, left unchecked, it's storytelling informed by sloppy, absolutist thinking, and it lends one more uncritical voice to the many who seem unable to distinguish between kinds and degrees of evil.

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