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. The sequel is faster, funnier and wilder, with more cunningly contrived computer effects.
  2. Keaton reminds us what a fine actor he could always be.
  3. You won't forget Nobody Knows, the quietly harrowing tale of four abandoned Japanese children.
  4. The giddiest and funniest animated film of the year.
  5. You don’t often hear the adjective “uncomfortable” used as a compliment. But you’re seldom going to come across a movie that makes you as uncomfortable as The Diary of a Teenage Girl yet seems as true to life.
  6. The presence of Robert Redford gives the character weight, if not depth, because we bring to the film everything we know about the actor from other movies. Redford’s characters have seemed unflappable for more than 40 years: sometimes cool, sometimes cocky, but almost always master of a situation. To see him beginning to flounder is to see a new Redford, one who catches us off guard.
  7. Marston doesn't develop the characters, except for the strong-willed and quick-witted Maria.
  8. McNamara's too mentally adroit to let Morris pin blame or guilt on him, and the director's not interested in shaming him.
  9. An experience as tender and troubling as any you're likely to get - or not likely, if this subject puts you off.
  10. 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.
  11. One of those documentaries about a family train wreck that makes you wonder how people consented to have their tawdry laundry washed so publicly.
  12. Almodovar still populates his work with characters you'll see nowhere else in movies.
  13. 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.
  14. 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.
  15. Spielberg has never made a more sophisticated and less sentimental picture. He and writer Tony Kushner craft it like a historical thriller.
  16. The two most frightening concepts in Room, one of the most remarkable movies of 2015, are freedom and the lack of it.
  17. The most atmospheric thing in the movie is Farnsworth's face.
  18. Reveals the drama and degredation so powerfully that it ranks among the all-time heavyweights of sports movies.
  19. 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.
  20. 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.
  21. Field does what most American directors don't: He shows people at work, in the day-to-day activity unmarked by excitement.
  22. I can't recall the last film that so wholly, honestly and movingly explained what it means to be a Christian.
  23. 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.
  24. 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.
  25. 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.
  26. 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.
  27. 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.
  28. (Mendes') film debut shows he can shock not only with noise and nakedness but with subtle observations.
  29. 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.
  30. 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.

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