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 4 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 942
942 movie reviews
    • 49 Metascore
    • 60 Ella Taylor
    A decent thriller trying to overcome a rather preposterous premise.
    • 56 Metascore
    • 60 Ella Taylor
    A film without attitude or mystery...an exquisitely executed, and exquisitely banal, treatise on the banality of evil.
    • 54 Metascore
    • 60 Ella Taylor
    What gives the movie its coltish charm is Harrison's scene-setting feel for the indomitable brio of kids.
    • 59 Metascore
    • 60 Ella Taylor
    Compared to the glib, pandering rosiness of most current chick-flicks, Anywhere but Here is a class act.
    • 70 Metascore
    • 60 Ella Taylor
    Though The Cup is lovely to look at, it has none of the ceremonial rigor mortis of Scorsese's "Kundun."
    • 66 Metascore
    • 60 Ella Taylor
    Sweet but slight pièce de fluff.
    • 67 Metascore
    • 60 Ella Taylor
    A delicate mood piece that owes much of its languorous charm to the understated intelligence of its two leads.
    • 74 Metascore
    • 60 Ella Taylor
    Pretty good going for a ton of moisture.
    • 62 Metascore
    • 60 Ella Taylor
    The movie feels oddly undercooked and aimless.
    • 70 Metascore
    • 60 Ella Taylor
    (Cage's) performance feels embalmed in the accumulated shtick of an actor trapped in excess.
    • 57 Metascore
    • 60 Ella Taylor
    Audaciously conceived, yet at times curiously flat, at others incongruously prosaic in its emotional tone.
    • 67 Metascore
    • 60 Ella Taylor
    There's some funny erotic business with gas masks, but neither that nor the unfolding love story is quite as engrossing as the raucous bunch of former Soviet citizens.
    • 51 Metascore
    • 60 Ella Taylor
    For a movie that boasts a murder, a would-be suicide and the usual generous helping of screwing around à la français, Le Divorce is remarkably calm and contained even as it builds to its climax.
    • 69 Metascore
    • 60 Ella Taylor
    Recalls the structure of Danis Tanovic's 2001 black comedy, "No Man's Land," but not that film' hyperknowing urbanity or strident political savvy.
    • 49 Metascore
    • 60 Ella Taylor
    This likable but utterly conventional movie works harder than is necessary to unpack for us Ethan Canin’s short story "The Palace Thief."
    • 61 Metascore
    • 60 Ella Taylor
    Crazy/beautiful has a leisurely local specificity, and Stockwell has a tender way with his actors.
    • 71 Metascore
    • 60 Ella Taylor
    In his capable, yet only mildly exciting, adaptation of Charles Dickens’ third novel, Douglas McGrath (Emma) keeps reminding us that what we’re seeing is theater. This feels gratuitous.
    • 53 Metascore
    • 60 Ella Taylor
    Blessed with a lovely score and strong acting, but crippled by an awkward, mawkish script.
    • 70 Metascore
    • 60 Ella Taylor
    Liberal use is made of freeze-frame and flashbacks as a kind of emotional chronology, yet it's precisely in this regard that the characters feel tentative and half-formed. I'm still trying to figure out why this perfectly serviceable movie won the Grand Jury Prize at Sundance last year.
    • 61 Metascore
    • 60 Ella Taylor
    The films, both narrative and nonfictional, range from the engagingly elliptical...to the simple-minded... to the cloying and incomprehensible.
    • 81 Metascore
    • 60 Ella Taylor
    You can only cram so much of this stuff into a movie without putting your audience to sleep -- The movie sags badly in the middle, swirling around itself without making headway.
    • 72 Metascore
    • 60 Ella Taylor
    Two-thirds of the way through, Seabiscuit awakes to its duties as a perfectly presentable race movie, rising to a crescendo of satisfying --- if somewhat gaga -- inspiration.
    • 74 Metascore
    • 60 Ella Taylor
    Isn't much more than a proficient gothic mystery with a final twist that offers a satisfying little frisson before you start counting how many times it's been used before.
    • 67 Metascore
    • 60 Ella Taylor
    In the current flood of Holocaust documentaries, stories of righteous gentiles abound, but the singular beauty of Hiding and Seeking is its delicate but relentless probing of ambiguous motivation on the one hand, and its hearteningly conciliatory spirit on the other.
    • 43 Metascore
    • 60 Ella Taylor
    Meet Joe Black is a hefty three hours long, and just so you know, it is at least two before Claire Forlani, as the Parrish daughter, Susan, unbuttons Pitt's shirt.
    • 71 Metascore
    • 60 Ella Taylor
    Mulan, like all the characters in this movie, is a cookie-cutter American prototype, lazily ripped off from the Disney boilerplate that fashioned Pocahontas et al.
    • 66 Metascore
    • 60 Ella Taylor
    Lohan is a warm and engaging presence, but she's completely outshone by the bad girls, and when they're offscreen, Mean Girls is an oddly restrained, barely plotted movie.
    • 44 Metascore
    • 60 Ella Taylor
    Struggles valiantly to keep its head above whimsy, and though the movie finally succumbs to an excess of heartwarming, it's a promising college try from a first-time writer-director.
    • 51 Metascore
    • 60 Ella Taylor
    Against the odds of this wheezy material and Michael Browning's fitfully funny script, director Ivan Reitman (Ghostbusters, Dave), a master of timing, contrives to spin a likable romantic comedy.
    • 67 Metascore
    • 60 Ella Taylor
    Even as you're laughing, you get the uncomfortable sense you're being recruited, and not always honestly, to Moore's us-and-them point of view.

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