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

Ella Taylor's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Gosford Park
Lowest review score: 0 Book of Shadows: Blair Witch 2
Score distribution:
  1. Negative: 66 out of 942
942 movie reviews
    • 40 Metascore
    • 60 Ella Taylor
    The movie gives every cheerful appearance of having been shot with no time and less money, and it doesn't have much on its mind, unless you count the moral integrity supplied by local Apaches more by way of Mel Brooks than Howard Hawks.
    • 63 Metascore
    • 60 Ella Taylor
    Patriot reflects on nothing, except perhaps that the American Revolution was a golden opportunity for Mel Gibson to go postal.
    • 58 Metascore
    • 60 Ella Taylor
    In the final act, the movie dons a more human face and commits to an absorbing tale of crime and punishment, albeit pushing the fatigued message that you can't always tell light from dark these days.
    • 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.
    • 37 Metascore
    • 60 Ella Taylor
    If nothing else, Chuck & Larry should open up a whole new career path for the ineffably funny, unselfconsciously buck-naked Ving Rhames as an übermacho firefighter who’s been sitting on a little secret of his own.
    • 62 Metascore
    • 60 Ella Taylor
    The less rosy message of Catch a Fire is that aggression breeds aggression.
    • 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.
    • 40 Metascore
    • 60 Ella Taylor
    War of the Buttons deftly folds France's unsavory collusions into a rather more rousing tale of resistance. I don't doubt that some of these heroics happened. But the way they're framed conveniently takes the edge off saying sorry.
    • 67 Metascore
    • 60 Ella Taylor
    Not especially lively filmmaking, but Zilberman has unearthed some terrific footage of the club in its heyday.
    • 70 Metascore
    • 60 Ella Taylor
    (Cage's) performance feels embalmed in the accumulated shtick of an actor trapped in excess.
    • 74 Metascore
    • 60 Ella Taylor
    Pretty good going for a ton of moisture.
    • 53 Metascore
    • 60 Ella Taylor
    Though hardly a major work, The Burial Society has going for it something that many of the snickering noir comedies currently littering the field lack. Underneath its cheeky amorality, there beats a heart.
    • 65 Metascore
    • 60 Ella Taylor
    Precious little history of any kind shows its face in Marie Antoinette. The omission is strategic.
    • 59 Metascore
    • 60 Ella Taylor
    Compared to the glib, pandering rosiness of most current chick-flicks, Anywhere but Here is a class act.
    • 53 Metascore
    • 60 Ella Taylor
    Blessed with a lovely score and strong acting, but crippled by an awkward, mawkish script.
    • 62 Metascore
    • 60 Ella Taylor
    The movie feels oddly undercooked and aimless.
    • 61 Metascore
    • 60 Ella Taylor
    Giuliani Time energetically deflates one trumpeted myth after another about Giuliani's success at turning the city around from its doldrums in the 1970s.
    • tbd Metascore
    • 60 Ella Taylor
    A Plumm Summer isn't remotely in the same league as "My Dog Skip," "Fly Away Home," "Lassie" or any of the handful of traditional family dramas that have restored luster to a genre that's been overtaken by techno-acrobats.
    • 55 Metascore
    • 60 Ella Taylor
    The film never coheres. Trying to carve out a space between black comedy and straight evocation of a difficult but rewarding marriage, the movie never settles on a 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.
    • 55 Metascore
    • 60 Ella Taylor
    An amiable and colorful, if dewy-eyed, documentary.
    • 54 Metascore
    • 60 Ella Taylor
    Like most of LaBute's work, Some Velvet Morning ends as it begins, more clever than wise.
    • 67 Metascore
    • 60 Ella Taylor
    A delicate mood piece that owes much of its languorous charm to the understated intelligence of its two leads.
    • 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.
    • 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.
    • 57 Metascore
    • 60 Ella Taylor
    Audaciously conceived, yet at times curiously flat, at others incongruously prosaic in its emotional tone.
    • 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.
    • 64 Metascore
    • 60 Ella Taylor
    Almost nothing comes as a surprise in this stately old fogy of a movie. The pacing is glacial, the screenplay is stiff as a board, and things heat up only in the movie's final scenes.
    • 66 Metascore
    • 60 Ella Taylor
    Sweet but slight pièce de fluff.
    • 46 Metascore
    • 60 Ella Taylor
    Ingratiating trifle.

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