Charlotte Observer's Scores

  • Movies
For 1,461 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 2.5 points higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 Ratatouille
Lowest review score: 0 Little Nicky
Score distribution:
1,461 movie reviews
  1. An experience as tender and troubling as any you're likely to get - or not likely, if this subject puts you off.
  2. Writer Steve Kloves, who adapted all of J.K. Rowling's novels except "Order of the Phoenix" over the last 11 years, neither wastes a word nor leaves out any essentials.
  3. One of those documentaries about a family train wreck that makes you wonder how people consented to have their tawdry laundry washed so publicly.
  4. Almodovar still populates his work with characters you'll see nowhere else in movies.
  5. It's tense, strangely funny in a lot of spots and – if you grew up loving old-fashioned, seat-of-the-pants baseball, as I did – the most depressing movie of the year.
  6. The first movie I'd have enjoyed more asleep. That's not because it put me to sleep, but because it may be the most dreamlike film I've ever seen.
  7. Spielberg has never made a more sophisticated and less sentimental picture. He and writer Tony Kushner craft it like a historical thriller.
  8. The most atmospheric thing in the movie is Farnsworth's face.
  9. Reveals the drama and degredation so powerfully that it ranks among the all-time heavyweights of sports movies.
  10. I spent The Kids are All Right wondering whether director Lisa Cholodenko was affectionate toward her self-absorbed characters or gently mocking them. In the end, I thought she was both and liked the film more.
  11. For a movie that ends in the profoundest depths of sadness, Boys Don't Cry contains one of the year's purest moments of joy.
  12. Field does what most American directors don't: He shows people at work, in the day-to-day activity unmarked by excitement.
  13. I can't recall the last film that so wholly, honestly and movingly explained what it means to be a Christian.
  14. Among many things that make the taut thriller Argo remarkable is this one: It depicts a 1980 rescue of American hostages from Iran yet begins by pointing out that the United States was partly responsible for the situation.
  15. He's (Soderbergh) among the few directors working today who makes me wonder what he'll do next - and draws me into the movie house, whatever it may be.
  16. I do wonder why a gay director's best-known movies about straight guys, Talk to Her and "Tie Me Up! Tie Me Down!," suggest that satisfying relationships with women are most easily achieved if they're 1) unconscious or 2) in bondage.
  17. Anderson tells this story slowly, inexorably, with a sense of control I've never felt from him before. This is the least violent of his five dramas, the first where nobody dies. It's also the bleakest.
  18. Scorsese in his prime might've made better use of this hamming, but this picture feels like an exercise by a Scorsese clone who has tackled the master's themes - without his energy and economy of style.
  19. (Mendes') film debut shows he can shock not only with noise and nakedness but with subtle observations.
  20. 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.
  21. For once, I didn't feel cheated by an unresolved ending, but let's hope this is the end. Robert Ludlum wrote three Bourne novels, and this is one series that ought not to be dishonored by inferior sequels.
  22. After an hour, The Pianist stops being the Holocaust movie and becomes a Holocaust movie.
  23. The Tony-winning Bosco, one of the great stage actors of the last 50 years, does a lot with a little in his restricted role; he's haughty, almost dignified by his angry silence. Linney and Hoffman stay pitch-perfect in their noisy desperation and sullen withdrawal.
  24. Moore makes no attempt at visual reality. The colors and drawings employ the flat design of a handsomely decorated book, and the children have the huge eyes, disproportionately large heads and small bodies you sometimes see in Japanese animation.
  25. Most of the movie feels like a loose, sometimes improvised lark among friends.
  26. One of the most heartbreaking, unforgettable dramas in years.
  27. This meditation on spirituality, loneliness and accountability could touch your heart's core.
  28. The film requires close attention, especially while it jumps back and forth in time for the first half-hour, but all the pieces lock into place tightly by the end.
  29. The movie is not credible, even in an inner-city setting. At the same time, it's touching.
  30. A dark comedy that's as emotionally honest as any picture of 2002.

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