Charlotte Observer's Scores

  • Movies
For 1,606 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 1.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 Apocalypse Now Redux
Lowest review score: 0 Waist Deep
Score distribution:
1606 movie reviews
  1. "Velocity" told multiple stories, each lasting half an hour, but "Ballad" wears out one tale before its end.
  2. Once The Quest begins, the movie collapses. The ending turns coincidental, preachy and stupid.
  3. The plot of "Nights" will occupy only 10 or 12 brain cells.
  4. The characters are so conventional that the movie has nowhere interesting to go, even when a corpse complicates affairs.
  5. Darabont and Sloane stumble consistently and fall into the abyss.
  6. Except for Sanaa Lathan, who sears the screen in a brief appearance, director Carl Franklin and his cast seem to realize they're making a second-tier thriller.
  7. The movie, first preposterously entertaining and then just preposterous, makes James Bond films look as logical as Euclidean geometry.
  8. Besides its title, the movie has retained the book's outline...But the film throws away the point of the book completely.
  9. It falls back on straightforward horror tactics, executed competently but without flair. It takes liberties with the second half of the book, including one big change that will leave fans of the novel growling with disbelief and disapproval.
  10. This frantic scrambling to create a credible fantasy is typical of the script by Aline Brosh McKenna and Robert Harling, which whips the "opposites attract" recipe into a souffl? that never rises.
  11. The film robs mermaids of everything exotic and remarkable about them in mythology.
  12. The story’s unbelievable, end to end.
  13. The new film, superficial and chaotic, delivers a rough sense of place, a reasonable number of skateboard thrills and very little character development or story.
  14. Really should have been made 60 years ago. It would have been timelier, with its tale of life in the remote north of that country during World War II. The juicy overacting, stereotypes and dramatic exaggerations would have been more in keeping with the style of the Golden Age of Hollywood.
  15. Universal Studios has unloaded its entire monster catalog in this movie, which is aimed at people with the attention span of a kindergartner. Shreds of coherence and character have been sacrificed to fangs and fisticuffs at every chance.
  16. Performances are rather beside the point in a movie where dogs carry the acting burden, but Perabo is especially bland.
  17. Harden and Tierney waste performances of moderate complexity, Baranski adds her usual brand of silky sarcasm and Rip Torn provides a welcome presence as Cole's jolly campaign manager.
  18. Ron Howard, who’s tied to this franchise like a man trapped in a decaying house by a huge mortgage, tries without success to blow life into David Koepp’s script.
  19. Yet the whole thing is so generic, so been-there-before, that I spent most of it asking myself nitpicking questions. To wit:
  20. The Farrellys have always danced along the tightrope between funny-disgusting and just plain gross in "There's Something About Mary" and "Shallow Hal." If the ratio was about 50-50 at the best of times, it's now 30-70 in favor of crassness.
  21. There are usually good reasons why a movie gets shelved for more than a year, however well-acted it may be and however well-meaning its message. Many are on view in Penelope.
  22. If you're going to serve up a half-baked idea, you might as well have Sigourney Weaver do the cooking.
  23. A slow, grim, atmospheric but virtually plotless look at a blank-faced loner who is obsessed with his work, has no friends except for one woman inexplicably attached to him, and ends up making those around him miserable.
  24. I couldn’t tell whether the film was intended to be a comedy; as it became more and more improbable, both predictable and ludicrous at once, I heard audience members chortle again and again.
  25. Confidence is "The Sting" without period appeal, humor, the charisma of Robert Redford or Paul Newman and the quietly seething villainy of Robert Shaw.
  26. By the way, the other thing that keeps Transamerica from being a mainstream movie is its obsession with penises: showing them, talking about them, placing us in bathrooms and trailers when they're in use.
  27. Someone Like You is from Hollywood's bottomless box of cliches.
  28. A movie for people fascinated by toilets and Sabbath.
  29. Long, utterly predictable and always bland.
  30. So Depp summons every type of behavior Burton requires: heroism, zaniness, longing, wit, ferocity, sexuality, icy resolve. Had they stuck to one or two of these, we might have had a terrific film.

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