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

Ella Taylor's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Donnie Brasco
Lowest review score: 0 Burzynski
Score distribution:
  1. Negative: 66 out of 942
942 movie reviews
    • 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.
    • 94 Metascore
    • 90 Ella Taylor
    A classic of politically engaged filmmaking, based on a book by Saadi Yacef, a former FLN leader who also produced the picture and played a version of himself.
    • 94 Metascore
    • 90 Ella Taylor
    At his provocative best, though - in his brilliant, gorgeous 2009 film "The White Ribbon," a study of the roots of fascism in domestic tyranny, and now in Amour - Haneke implicates us in the full range of human capacity.
    • 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.
    • 93 Metascore
    • 90 Ella Taylor
    Has the sprawling canvas of an epic and the emotional heat of classical melodrama.
    • 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.
    • 90 Metascore
    • 80 Ella Taylor
    If Steven Spielberg's emotional intelligence matched his visual genius, his honorably flawed new film might qualify for one of the greatest-ever American WWII movies.
    • 90 Metascore
    • 85 Ella Taylor
    On its face, Winter's Bone, like "Down to the Bone," is a bleakly realist drama about a community decimated by poverty and hopelessness, yet bound together by deep ties of class, gender and blood.
    • 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.
    • 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.
    • 90 Metascore
    • 80 Ella Taylor
    Carrey is a genius at registering the rage behind television's sunny smile, while Laura Linney excels as his wife.
    • 90 Metascore
    • 90 Ella Taylor
    Above all else, though, Capturing the Friedmans is a vividly personal, devastating story of a family that was hopelessly compromised years before it was scapegoated for crimes that two of its members may or may not have committed.
    • 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.
    • 89 Metascore
    • 90 Ella Taylor
    And like all great family sagas, The Best of Youth, while tipping its hat to the painful confusion of living life forward, reels it backward to give it the thrilling significance of time and place.
    • 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.
    • 89 Metascore
    • 70 Ella Taylor
    Why Capote liked the movie so much (or said he did) isn't entirely clear, for though it's a gripping piece of American Gothic, it's as thematically timid as it is formally flamboyant.
    • 88 Metascore
    • 80 Ella Taylor
    Once feels handmade in the best sense, an impressionistic feast for the senses cobbled together from lovely grace notes and a warm palette of reds and yellows.
    • 88 Metascore
    • 90 Ella Taylor
    The triumph of Capote is that it both grants and shares with him that twisted brew of obsessive identification and monstrous detachment that is the fertile burden of the artist.
    • 88 Metascore
    • 90 Ella Taylor
    The artificial look of the added footage, counterpointed by the commentary of inmates and survivors, only underscores the unending shock of the film's unadulterated images, even though we have seen them in other Shoah documentaries.
    • 88 Metascore
    • 90 Ella Taylor
    Easily the most brilliant of the genuflections bestowed on the American gangster movie by the French New Wave.
    • 88 Metascore
    • 90 Ella Taylor
    Unfolds with such leisurely, terrible beauty, it takes a while to realize that what we are witnessing is the children's long slide into beggary, exacerbated by the slow torture of faint hope.
    • 87 Metascore
    • 80 Ella Taylor
    As Dardenne films go, with their slow, minutely observed journeys from despair to faint hope, L'Enfant is a horror movie of sorts, and for a few minutes at least, a kind of thriller.
    • 87 Metascore
    • 70 Ella Taylor
    Good fun, though not more than up-market situation comedy studded with the usual leaps out of period-speak to swipe at contemporary Hollywood.
    • 87 Metascore
    • 80 Ella Taylor
    The five interwoven narratives in this visceral but disciplined and beautifully acted movie show to devastating effect how ordinary men and women -- and especially vulnerable boys desperate for masculine role models -- get caught up in the seductive violence and are ruthlessly destroyed by the network's hardened henchmen.
    • 87 Metascore
    • 90 Ella Taylor
    To Be and To Have works in the grandest tradition of documentary filmmaking -- it keeps company with a small, specific place going about its business, and from it parses the whole world.
    • 87 Metascore
    • 80 Ella Taylor
    Who could resist a movie in which a garden gnome holds the front line in high-tech home security?
    • 87 Metascore
    • 85 Ella Taylor
    Beneath the noirish topicality of Elena, which won a special jury prize at Cannes last year, lies a bone-deep existential unease and spiritual alienation, a preoccupation with sin that is at once quintessentially Russian and wholly archaic.
    • 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.
    • 87 Metascore
    • 90 Ella Taylor
    The movie is thrillingly subjective, teeming with the fullness of everyday proletarian life that one finds in the work of the directors who most influenced Marston in the making of this movie: Hector Babenco and the Brazilian realists, Ken Loach and Mike Leigh.

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