Charlotte Observer's Scores

  • Movies
For 1,501 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 Frost/Nixon
Lowest review score: 0 Waist Deep
Score distribution:
1,501 movie reviews
  1. Like a story-spinner from the "Tales of the Arabian Nights," Steven Spielberg begins by demanding we accept impossible things. If we do, his spell can enchant us; if not, it must vanish like colored smoke.
  2. The result owes a little to the 1927 "Metropolis," a little to film noir, a little to early depictions of H.G. Wells' science fiction -- notably the 1936 "Things to Come" -- and a little to lovably far-fetched sci-fi serials.
  3. Wallenda once said, "Life is being on the wire; everything else is just waiting." This film makes that motto ring true.
  4. Anyone who saw the Oscar-nominated Mulligan in "An Education" knows what she can do. If you didn't, you're in for the kind of quietly revelatory acting that portends a brilliant career.
  5. Disney's updated, animated version respects its source material while aiming at kids who grew up with extreme sports and edgy music.
  6. This documentary makes a terrible kind of sense. It reminds us that something we take for granted, like air, can be sold to us – if we can afford it. And if we can't, what happens then?
  7. Mikkelsen, like Jimmy Stewart, projects emotions with a slight twitch of a lip or narrowing of an eye. His long face - often handsome, sometimes plain, always cryptic - yields secrets slowly; you have to watch an entire film to know how his character feels and how you feel about him.
  8. The director lingers over images, watching builders at work or Baran at her chores; the camera often seems to daydream, like Lateef. No grand climax caps the film, but the small incidents have a cumulative effect.
  9. It gives such a down-to-Earth view of the joys, terrors, boredom, anxieties and camaraderie in a war zone.
  10. Each major character is complex, none more so than Bill. He's almost Shakespearean in scope.
  11. Director Stephen Frears...drops down to the underclass in "DPT," examining the ways in which educated illegals fight off despair, poverty and extradition.
  12. I've heard that one definition of insanity is doing the same thing over and over and expecting different results. By that standard, the U.S. "War on Drugs" seems crazy indeed in The House I Live In.
  13. No matter what character Don Cheadle has played in his 23-year career, he's always seemed to be holding something back...Until Talk to Me.
  14. The film's main virtue, a large virtue indeed, is that it does not give anything away before its shockingly apt time.
  15. The terrific Spellbound really isn't about the ability to tear words apart letter by letter. It's about nerve-wracking competitiveness.
  16. Kandahar found itself in real-life controversy last December, when one of its actors was accused of murder.
  17. One of those rare thrillers where the cops aren't fools, villains don't turn stupid at crucial moments, and career assassins seldom miss targets.
  18. You won't forget Nobody Knows, the quietly harrowing tale of four abandoned Japanese children.
  19. Charming Stuart Little improves on original tale.
  20. Finally! For the first time, Hollywood has made a whimsical, witty, feature-length version of Dr. Seuss that's neither overblown nor smutty nor emotionally hollow.
  21. Haneke peels back the layers of Georges Laurent as slowly and dispassionately as a scientist dissecting a diseased mouse. The ending arrives with the power and inevitability of Greek drama.
  22. Nolan’s tale is not only a trip through mental labyrinths but a reminder that memories may cripple us, unless we learn to let them go.
  23. It's a unique vision of war from the point of view of a Marine who never pulled a trigger against a foe.
  24. Max
    Menno Meyjes' provocative film might be called an example of the haphazardness of evil.
  25. A lot of chaotic fun.
  26. The simple, utterly satisfying Premium Rush delivers just what the title promises.
  27. Perhaps Zeitlin isn't really making an issue of class distinctions. Maybe he's just suggesting that we don't know these people very well, and our lives would be richer if we did.
  28. The film's full of in-jokes, from the Spanish-language billboards to the name of Banderas' character.
  29. The saga regains its grandeur with a complicated but easy-to-follow story. The characters are as satisfying as the effects.
  30. This film has two of Fincher's happiest trademarks: It's full of information and stretches over a remarkably long time (165 minutes), yet it's neither confusing nor overextended.

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