Charlotte Observer's Scores

  • Movies
For 1,439 reviews, this publication has graded:
  • 56% higher than the average critic
  • 3% same as the average critic
  • 41% lower than the average critic
On average, this publication grades 2.4 points higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 The Prestige
Lowest review score: 0 Little Nicky
Score distribution:
1,439 movie reviews
  1. 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.
  2. Slater narrates as if reading a restaurant menu. Reid seems to have learned each long sentence in segments, so she wouldn't be overtaxed.
  3. Messing may simply be one of those actresses who's the right size for TV and the wrong size for the big screen.
  4. Everything here has been done better in other books, other movies. The lone remarkable thing is the level of violence, which exposes the cowardice and hypocrisy of the Motion Picture Association of America's ratings system.
  5. Weak, obligatory stabs at humor make it more generic than it might've been.
  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. 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.
  8. 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.
  9. Babbit clumsily underlines emotional moods.
  10. 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.
  11. As close to perfectly unwatchable as it can be.
  12. 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.
  13. Bertino directs at a funereal pace. Speedman remains comatose, though Tyler flickers fitfully to life. The mournful look on her face suggests she's remembering the days when she was given more psychologically complex scripts, such as "Armageddon."
  14. I'm afraid it just stinks.
  15. 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.
  16. 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.
  17. The most catastrophic misfire in a dreadful movie season.
  18. I do have one overpowering Y2K fear: that Hollywood will keep belching out movies as excruciatingly dull, brutal, mindless and overlong as End of Days.
  19. Whenever the music subsides and the characters speak the Coens' lines, the film turns back into mush.
  20. About 45 minutes into Swordfish, the picture degenerates permanently from drivel to sleaze (only a short drop).
  21. Just when the story reaches its idiotic nadir, Neil (Diamond) shows up to save the day with a song and a smile.
    • Charlotte Observer
  22. The worst horror sequel of this or many another summer.
  23. It's bombastic, chaotic, plodding, visually dreary and patchily written.
  24. Zomboid, convoluted excuse for a thriller is among year's worst.
  25. It's an uncoordinated, flailing hodgepodge of music videos, chases, crashes and moronic plot twists.
  26. This script by the husband-and-wife team of Leora Barish and Henry Bean is hopelessly contrived and takes forever to get to the point. (I warn you: The film does not absolutely identify the killer.)
  27. Bad actors, bad music and bad plot make it a hellish bummer.
  28. It's well-shot and well-edited by Hollywood standards, though special effects don't reach the top Hollywood level. The stars have their hearts in their work: Cameron and Johnson don't have great depth but give their all. Currie makes a subtle villain.
  29. Director Vondie Curtis-Hall has managed to top (or should I say "bottom"?) his last theatrical release, Mariah Carey's "Glitter," with a movie that offers not one praiseworthy moment: not a scene, not a performance, not a technical achievement, not even a line of dialogue.

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