Charlotte Observer's Scores

  • Movies
For 1,605 reviews, this publication has graded:
  • 57% higher than the average critic
  • 3% same as the average critic
  • 40% lower than the average critic
On average, this publication grades 2 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 Harry Potter and the Deathly Hallows: Part 2
Lowest review score: 0 Left Behind
Score distribution:
1605 movie reviews
  1. Goes awry within moments and never gets on track. The scripters and director Harold Ramis have no idea whether to aim for cynical humor, film-noir romance or post-crime tension, so they miss all three targets completely.
  2. "I didn't write this." In heaven, Graham Greene is mumbling those same words over and over right now.
  3. A three-hour-and-10-minute exercise in slight characterization, pointlessly showy editing and vapid plotting.
  4. Once again, something that might have been a faintly amusing sketch on "Saturday Night Live" -- maybe even a tolerable 30-minute short, had the writing been more clever -- gets tortured into the shape of a feature film.
  5. You won't see a single joke here you haven't encountered before, all in funnier forms.
  6. Even if we leave aside the obvious time travel paradoxes, we can have a good horse laugh at the rest of the plot's inanities.
  7. Self-respecting filmgoers will find this a "Walk" to dismember.
  8. Campion has no clue how to sustain suspense and no actress of the caliber of Holly Hunter, Nicole Kidman or Kate Winslet (her recent leading ladies) in the main role.
  9. Messing may simply be one of those actresses who's the right size for TV and the wrong size for the big screen.
  10. Like the Big E himself. It starts out fast, dangerous, sexy, confident, funny with an edge. It ends up confused, bloated, unable to leave the stage when it should.
  11. Writer-director Reverge Anselmo has created a movie of ineptness so perfect and unified as to boggle the mind.
  12. Studios can release movies even more insultingly dumb, crudely assembled and cheaply produced than this one, though such an achievement will require some effort.
  13. Many movies require us to turn off our brains, and many rely on clichés and/or coincidences. It takes a special kind of shamelessness to do both, and Into the Storm has that in spades.
  14. Affleck simply wasn't meant to play action heroes or tough guys. He's about as tough as tapioca pudding.
  15. Designed to appeal to people who thought "She's All That" was too mentally demanding.
  16. Its main feature is incessant, unimaginative profanity...Take out the cursing, and you're left with a plebeian drama about angry, aimless potheads, sloppily directed by the man who wrote it.
  17. Slater narrates as if reading a restaurant menu. Reid seems to have learned each long sentence in segments, so she wouldn't be overtaxed.
  18. Director Michael Bay surrounds them with action scenes cut as rapidly and irritatingly as a Gap commercial. At points, we can't tell one darting car from another, a drug triggerman from a cop. [7 April 1995, p.1F]
    • Charlotte Observer
  19. Represents everything that over-budgeted Hollywood can possibly get wrong in a period piece: It feels both long and slow, it's unfocused and self-contradictory, its generic characters are played too broadly, it's anachronistic..
  20. I don't know if Nispel and Scott Kosar, who make their feature film debuts here, are the worst director and writer in the world, though they might well represent the United States if anyone holds a competition. I do know they deliver a total of zero laughs, scares or surprises in this remake of the infamously creepy 1974 picture.
  21. No characterization. A plot you could write on a single sheet of toilet paper. Sadistic violence we’re meant to cheer. A surprise that wouldn’t fool anyone who left the theater after the opening credits and came back for the last 10 minutes.
  22. Birth, which should never have been conceived, is obscure in every way: visually, philosophically and psychologically.
  23. It's the cheapest looking, least exciting, least funny Chan project I've ever seen.
  24. The most frustrating thing about the movie (as with “Cloud Atlas”) is that it could’ve been memorable, had the Wachowskis turned their vision over to more talented storytellers.
  25. The plot's as thin as a debutante's cigarette case.
  26. This movie is an act of hubris so huge that, in Alexander's time, it would draw lightning bolts from contemptuous gods. Today it will get sniggers from stunned critics and a collective yawn from a public unlikely to share Stone's egomania.
  27. Babbit clumsily underlines emotional moods.
  28. Not even the repeated sight of Jessica Alba in a bikini, the camera caressing her like the eyes of a strip-club patron, can lift this leaden refuse off the ocean floor.
  29. Here’s something I never expected to say, something I doubt I’d have believed if someone else had said it to me: Martin Scorsese can make a three-hour movie without one fresh perspective or compelling character from end to end. The proof, for three agonizing hours, can be found in The Wolf of Wall Street.
  30. It's the poster child for bad taste, not to mention bad construction.

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