Charlotte Observer's Scores

  • Movies
For 1,559 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 Inside Out
Lowest review score: 0 Little Nicky
Score distribution:
1559 movie reviews
  1. It's encouraging to see a nation so aware of its public image and defensive about its military decisions examine a dark day in its history.
  2. The Coen brothers have never really accepted the idea that a movie has to have a plot. Offbeat characters, sure. Oblique dialogue that sounds meaningful and occasionally is so, absolutely. Eye-catching cinematography and a subtle, mood-reinforcing soundtrack, no question. Irony layered on thickly as cheese in good lasagna, yes. But a narrative that makes sense from end to end? Well, one doesn't have room for everything.
  3. A spruced-up version has been re-released after 22 years, and the addition of 43 minutes means the story really has room to breathe.
  4. Her
    Phoenix gives a performance as convincing as he did in “The Master,” and in exactly the opposite direction: gentle, meditative and cerebral, instead of angry, closed-minded and baffled.
  5. Pixar's employees, masters of computer-generated animation, capture the look of the ocean like no artists before.
  6. A tribute to anyone who ever picked up a score, a pen, a paintbrush or a grease pencil - or a movie camera.
  7. It's among the most inventive, screwily funny and consistently surprising movies I've seen in years.
  8. The ex-lovers' new conversation is stimulating and banal, selfish and broad-minded, affectionate and recriminatory, insightful and obtuse - in short, the kind of dialogue two people might have while pouring out their hearts and poring over their pasts.
  9. Among the handsome explosions, wacky effects, slapstick comedy and zooming action sequences of The Incredibles, writer-director Brad Bird is attempting to start a revolution.
  10. Crowe gave Kate Hudson one pointer while making Almost Famous: Her character simply had to light up every room as soon as she walked into it.
  11. A feature film as odd, personal and sometimes mundane as his (Pekar) comics.
  12. Qualifies as a solid double, maybe a triple.
  13. Miller’s not interested in character development, plot twists or social commentary, with one possible exception. He wanted spectacular stunts, which he achieves with tremendous skill, and a bad-guys-vs.-less-bad-guys pursuit that goes through countless exciting permutations.
  14. This isn’t a history lesson. It’s pure entertainment, an excuse for good actors to romp through a twisting, well-told tale.
  15. Coppola lacks a firm grip on this material, and it starts to get away from her midway through.
  16. He's (Yimou) like a painter combining bloody reds, sunshine yellows and pale blues in the harmony of a masterpiece.
  17. Wallenda once said, "Life is being on the wire; everything else is just waiting." This film makes that motto ring true.
  18. Cohen and his gang are smart enough to know when to quit. Like a loud but amusing guest at a dinner party, Borat collects his coat and goes home just as his hosts are starting to fidget.
  19. Hungarian writer-director László Nemes makes an extraordinary feature-length debut with this film, which requires us to put together bits of information and leaves us guessing at a few missing pieces.
  20. The Dardennes know how to tell low-key stories effectively, and Cotillard’s Academy Award-nominated performance builds toward the unexpected ending.
  21. Talkies may have killed silent movies, the way TV serials and soap operas wiped out radio dramas. But there are stories most effectively told in the old style, and The Artist is proof.
  22. For all the silliness, Kaufman is posing a serious question: Are we better off forgetting things that brought us pain, especially if we didn't change or grow as a result? You may not agree with his conclusion, but who else in Hollywood would pose this query at all, or explore it in such a daffy, gratifyingly inventive way?
  23. Letters covers less emotional ground than its predecessor, because Eastwood and first-time writer Iris Yamashita (who shares a story credit with Paul Haggis) allow Japanese soldiers only three modes of behavior.
  24. Whatever you feel about Truman Capote, you won't be able to turn away from him here.
  25. Anderson leavens the lunacy with a few acts of sudden and extreme violence or avert-your-face sex, which seem as extravagant as the rest of his notions. Perhaps they’re in there to change the flavor of the humor, the way Mendl might put a bitter coffee bean in a chocolate torte to keep it from cloying us.
  26. A director needs to know how to pace the tale, where to place the camera, how to draw out a shy actor or get out of the way of a strong one. Those skills are rarer than you'd think. Sarah Polley, who never wrote or directed a feature film before Away From Her, has them all.
  27. Seeing Lord of the Rings: The Two Towers is like having a second date with the woman who made you fall in love at first sight.
  28. The longer film makes Donnie's intentions clearer, explains the time-travel theme better and also leaves us in no doubt as to Frank's identity.
  29. Polished, thoughtful and touching.
  30. Unlike David Foster Wallace in “End of the Tour,” a masterful look at depression, Stone’s just a self-centered, unaware bore. He doesn’t merit attention from the kindly, cheerful, anxious Lisa – or from us.

Top Trailers