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

Ella Taylor's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Crash
Lowest review score: 0 Burzynski
Score distribution:
  1. Negative: 66 out of 943
943 movie reviews
    • 36 Metascore
    • 40 Ella Taylor
    Remember the Daze has the irony-free, instant-nostalgia earnestness of your high school yearbook, but watching it is not likely to conjure your own youthful emotions -- it’s more like flipping through the generic memories of a complete stranger.
    • 64 Metascore
    • 80 Ella Taylor
    The movie blows a fresh wind of disrespect, high drama and lush romanticism through that stolidly middlebrow subgenre, the period drama.
    • 77 Metascore
    • 70 Ella Taylor
    A triumph of production design...As a character study, though, The Aviator is downright squeamish.
    • 70 Metascore
    • 60 Ella Taylor
    (Cage's) performance feels embalmed in the accumulated shtick of an actor trapped in excess.
    • 68 Metascore
    • 70 Ella Taylor
    This heartfelt tale of disintegration and acceptance, seasoned with family devotion, will both raise and soothe the anxieties of those of us who regularly ask ourselves why we came into the kitchen two minutes ago.
    • 38 Metascore
    • 40 Ella Taylor
    Raising Helen is the kind of movie you watch on a plane while muttering “utter crap” under your breath -- and then burst into tears.
    • 63 Metascore
    • 80 Ella Taylor
    One senses that this is an intensely personal project for Binder, who is not as forgiving as he might be toward the mercurial mother. Still, the film is carried by Costner and Allen, who project a chemistry so incrementally built on reluctant camaraderie, they almost seem like siblings.
    • 74 Metascore
    • 60 Ella Taylor
    Pretty good going for a ton of moisture.
    • 58 Metascore
    • 70 Ella Taylor
    The film, like the beleaguered country it depicts, has a raw, neurotic, brawling yet tender vitality.
    • 51 Metascore
    • 50 Ella Taylor
    That You Will Meet a Tall Dark Stranger is not more dull is due in large part to the adorably flamboyant Punch (late of Dinner for Schmucks and Hot Fuzz).
    • 35 Metascore
    • 50 Ella Taylor
    This Rob Reiner comedy jogs along pleasantly enough to the finish (Costner is charming as always in over-the-hill-ruin mode), which entails a less-than-shattering insight about love and marriage.
    • 84 Metascore
    • 70 Ella Taylor
    Their endless groupings and regroupings, their brief encounters and power struggles are framed by an armory of cinematic devices that will be familiar to any Desplechin devotee.
    • 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.
    • 55 Metascore
    • 80 Ella Taylor
    A fresh, buoyant, mischievous and rather jolly meditation - if that's the word for a movie as divinely nuts as this one is - on the meaning of life in an unhappy world.
    • 78 Metascore
    • 80 Ella Taylor
    A fetchingly improbable match of material and directors.
    • 65 Metascore
    • 60 Ella Taylor
    Precious little history of any kind shows its face in Marie Antoinette. The omission is strategic.
    • 57 Metascore
    • 40 Ella Taylor
    My own view is that, like me, the LAPD was defeated by the movie's incestuously proliferating plots. I've seen Dark Blue twice, and I still don't have a handle on all its comings and goings.
    • 27 Metascore
    • 40 Ella Taylor
    Under Peter Hewitt's phoned-in direction, Garfield chugs along like the slow train to Chattanooga, with only Jennifer Love Hewitt, as the local vet, twittering pertly in a desperate effort to raise Jon's feeble pulse.
    • 64 Metascore
    • 80 Ella Taylor
    The Girl From Paris may not have half the smooth technique of "Swimming Pool," but it has 10 times the heart and soul.
    • 49 Metascore
    • 70 Ella Taylor
    It's a tribute to Robert Gordon's nifty screenplay and Dunne's cheerful way with digression that Addicted to Love, even as it broadens into screwball, also deepens into a character study full of surprising left turns.
    • 66 Metascore
    • 80 Ella Taylor
    The movie is driven almost entirely by its exhilaratingly subversive characters.
    • 44 Metascore
    • 40 Ella Taylor
    The question is not how bad this excuse for a domestic comedy is (medium cringe), but how the gifted Fred Schepisi got suckered into directing a vanity project.
    • 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.
    • 68 Metascore
    • 80 Ella Taylor
    As naked and bitter and mesmerizing a display of self-pity as you've seen outside as Edward Albee play. By the end of this willfully grimy yet oddly beautiful movie, Billy and Layla have earned grudging sympathy.
    • 58 Metascore
    • 75 Ella Taylor
    The visual jokes -- one standout is an army of ogres condemned by the Pied Piper to perpetual line-dancing -- are pretty irresistible.
    • 69 Metascore
    • 100 Ella Taylor
    Not just one of the best Hollywood movies about race, but, along with "Collateral," one of the finest portrayals of contemporary Los Angeles life period.
    • 69 Metascore
    • 50 Ella Taylor
    It plays out more like a 12-step program than a human drama.
    • 62 Metascore
    • 70 Ella Taylor
    Slow and stately.

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