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

Ella Taylor's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 The Triplets of Belleville
Lowest review score: 0 Book of Shadows: Blair Witch 2
Score distribution:
  1. Negative: 66 out of 942
942 movie reviews
    • 79 Metascore
    • 80 Ella Taylor
    Affliction is a work of realist art rich in quotidian detail, a Grimm fairy tale about a community under siege, and a lament for a good man gone bad for nothing.
    • 45 Metascore
    • 80 Ella Taylor
    Smartly directed, grown-up film of ideas -- with a debonair script by Paul Attanasio (Donny Brasco) and Daniel Pyne.
    • 78 Metascore
    • 80 Ella Taylor
    Eerily compelling.
    • 71 Metascore
    • 80 Ella Taylor
    The movie's wistful tone leavened with breaks into farce recalls Elia Suleiman's superbly controlled "Chronicle of a Disappearance."
    • 44 Metascore
    • 80 Ella Taylor
    Lewd, crude and occasionally too brutal to take, it's also gorgeous, heartfelt.
    • 48 Metascore
    • 80 Ella Taylor
    Sarandon's motherly sexiness is appealing, but it's Hawn, in a warm and deep performance as the hapless but free-spirited Suzette, who walks away with the movie.
    • 68 Metascore
    • 80 Ella Taylor
    Indeed, The Good Thief is a fairy tale, not just in the plotted fun of the heist and counterheist, or in the clever twist thrown in at the end, but in the grandiloquent myth, so passionately espoused by Melville, of the crook as a man of honor and elegance.
    • 71 Metascore
    • 80 Ella Taylor
    Carnage is a film about the violence of living, of finding and keeping a place in the world, and though it's a work of preternaturally sophisticated philosophy from a director who's barely out of her 20s, this beautiful, bizarre movie could function quite well without its capable screenplay.
    • 77 Metascore
    • 80 Ella Taylor
    A very good new Dogme by Danish director Susanne Bier, begins with several lives in excellent working order, and proceeds by way of domestic tragedy to a full-court emotional train wreck.
    • 74 Metascore
    • 80 Ella Taylor
    Too bad for Gilliam and everyone involved, but in the departments of spectacle and schadenfreude, great fun for us.
    • 69 Metascore
    • 80 Ella Taylor
    Imamura has said that Warm Water Under a Red Bridge is a poem to the enduring strengths of women. It may also be the best sex comedy about environmental pollution ever made.
    • 82 Metascore
    • 80 Ella Taylor
    The story proceeds, by minuscule tonal shifts and barely perceptible changes in the atmospheric temperature, from touches of ghoulish comedy -- to the creepy stillness of death that pervades the house.
    • 48 Metascore
    • 80 Ella Taylor
    Charlotte Gray is not a subtle movie, but it is an honorable and surprisingly gripping one.
    • 85 Metascore
    • 80 Ella Taylor
    Polanski, wisely, doesn't interpret or explain. He seems to have decided that in the face of such meticulously planned horror, the best one can do is get the details right.
    • 67 Metascore
    • 80 Ella Taylor
    As funny as it's got all year. Manipulative and calculating? Sure. Submit! Enjoy!
    • 53 Metascore
    • 80 Ella Taylor
    Some psychobabble ("We're all trying to be who we are") is inevitable, but somehow or other the thing works, largely because the acting, though primarily reactive, invests the movie with enough immediacy and specificity to turn the most excruciating banality into an original thought.
    • 77 Metascore
    • 80 Ella Taylor
    With its ludicrous parallels and brisk, funny script (pardon my provincialism, but it sounds all the funnier in Danish), Italian for Beginners is full of larky charm while drawing its emotional vitality from urban loneliness.
    • 64 Metascore
    • 80 Ella Taylor
    Cloaking (Bateman's) world in a hyperrealist light so sharp you could cut yourself on it, Harron keeps the violence minimal, over the top and ghoulishly funny.
    • 78 Metascore
    • 80 Ella Taylor
    A strange and beautiful film.
    • tbd Metascore
    • 80 Ella Taylor
    The movie often seems as innocent and goodhearted as its subject. Still, Jebeli is possessed of an impish visual sense. He also has the Iranian gift for bringing to vivid life people we wouldn't give a second glance.
    • 79 Metascore
    • 80 Ella Taylor
    Junge's testimony about the last days in Hitler's bunker will fascinate the layperson, but it adds little to what is already known by historians.
    • 78 Metascore
    • 80 Ella Taylor
    A beautiful and exhilaratingly clear-eyed new film by the equally celebrated South Korean director Im Kwon-Taek.
    • 77 Metascore
    • 80 Ella Taylor
    Under the Skin is distinguished, like so much contemporary Iranian cinema, by the way its striking visuals and strategic use of sound tell the underlying story.
    • 86 Metascore
    • 80 Ella Taylor
    It's not a happy film, but there's much incidental, quotidian happiness in it. Like Lynne Ramsay's lovely "Ratcatcher," the movie is far from sentimental about children.
    • 86 Metascore
    • 80 Ella Taylor
    Goes the distance to avoid banalizing the dilemma of a reasonable couple unhinged by unreasonable events.
    • 69 Metascore
    • 80 Ella Taylor
    This delightful and compassionate romp achieves precisely that rare quality -- grace -- that sets Betty apart from the pack.
    • 79 Metascore
    • 80 Ella Taylor
    Glazer shoots with the dreamy impressionism much favored in his principal line of work, all floaty slo-mos and in-your-face close-ups punctuated by a hard-driving rock score.
    • 48 Metascore
    • 80 Ella Taylor
    Ray Harryhausen's original stop-motion Sinbad classics are a hard act to follow, but Tim Johnson and Patrick Gilmore's update, couched in a gorgeous palette of indigo and dark rose, is a big, beautiful thrill all its own.
    • 74 Metascore
    • 80 Ella Taylor
    As pristine a distillation of Palestinian rage as I've seen outside the evening news.
    • 87 Metascore
    • 80 Ella Taylor
    The two films bursting out of The English Patient (a chamber piece and a David Lean dune epic) require a juggling of tone, pace and scale that might easily defeat a director more seasoned than Minghella.

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