Charlotte Observer's Scores

  • Movies
For 1,438 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 2.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 Boys Don't Cry
Lowest review score: 0 Left Behind
Score distribution:
1,438 movie reviews
  1. You can say nothing of Castle-Hughes except that she's already a movie star: The camera loves her and we do, too.
  2. An articulate plea to Westerners not to repeat these terrible sins of omission.
  3. 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.
  4. (Cusack) has never been more effective onscreen.
  5. Gone Girl offers interesting, even amusing audio cues: the sound of a distant mourning dove when we suspect Amy’s been killed, or Blue Oyster Cult’s “Don’t Fear the Reaper” playing on a car radio as Nick returns his obnoxious father to an assisted care center.
  6. Eastwood thrusts us into the period with an understated piano score (which he composed) and authentic production design by Henry Bumstead, who died last May after working on the film at 90. (He collaborated with Eastwood on 11 films, including the Oscar-winning "Unforgiven" and "Million Dollar Baby," and he's a dedicatee of "Flags.")
  7. Another of Charlotte native Ross McElwee's musings about his family, history (this time the tobacco industry) and life. It may be his best.
  8. Pavich gives the Chilean-born Jodorowski his full say in the documentary, partly in Spanish and partly in expressive if slightly fractured English.
  9. This superficial plot, almost devoid of characterization or weighty emotions, is an excuse for ferocious, fast and frequent combat.
  10. A brain-free ride on a cinematic bullet train.
  11. Control Room ends by acknowledging that independence, accuracy and even truth itself may be illusory.
  12. Director Matt Reeves, working from a script by Rick Jaffa, Amanda Silver and Mark Bomback, elevates the apes to primary importance in this intelligent thriller.
  13. A character in Yann Martel's novel "Life of Pi" tells us this will be a story to make us believe in God. The film version written by David Magee and directed by Ang Lee may do that – you'll decide for yourself – but it will definitely make you believe in the power of cinema.
  14. Rodriguez' inner peace wins us over. He seems to have enjoyed recording music, fathering kids, cleaning houses, playing sold-out gigs and simply strumming a guitar in his kitchen. Searching for Sugar Man reminds us that a wise man knows lasting riches are never the result of record sales.
  15. Like all his (Aronofsky) films, it's lurid, visually stimulating, thoughtful, absurd in spots, well-cast and unrelentingly intense.
  16. It comes from Pixar, the animation studio that scored with the "Toy Story" series and "A Bug's Life," and it has more zip and a tad less soul than those predecessors.
  17. Nobody puts the "angst" in "gangster" like a European director. When the director's a Dane, you can count on gloomy, chilly visuals and deliberate pacing. And when the director is Nicolas Winding Refn, who made the "Pusher" series in his native country and "Bronson" in England, you can expect intense, often brutal spurts of violence.
  18. The result is one of the most honest recent comedies about romances that flourish, marriages that totter and the difficulties of raising children with the right blend of respect, discipline and support.
  19. Deals with emotional concerns for half an hour. Then it turns into a mindless bloodfest, where it's impossible to care which characters end on the zombie gore-gasbord.
  20. To my detached eye, this slender biography suggests that Curtis went from a faintly interested glam-rock wannabe of 16 to a mildly talented performer to a quietly glum fellow of 23 whose frustrations drove him to suicide.
  21. It never commits the sin of sentimentalizing old age, as Hollywood usually does when it deigns to admit that people over 55 exist.
  22. The characters, irritating as they can be at first, grow on you as they grow up.
    • Charlotte Observer
  23. Fanboys won't mind the absence of depth or emotion; they may even welcome it for making the film more representative of its comic-book origins. The rest of us, however, cannot rejoice at the overspending and overkill likely to come in Hellboy III.
  24. But as cynical as I may have been going in, I came out a believer.
  25. Director Stephen Frears...drops down to the underclass in "DPT," examining the ways in which educated illegals fight off despair, poverty and extradition.
  26. Punch-Drunk Love buries a terrific performance by Adam Sandler under a heap of faux cleverness, meaningless symbolism and irritating mannerisms.
  27. Virtually all science fiction functions as metaphor, and I took this film to be a metaphor for the act of becoming fully human.
  28. 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.
  29. Director Christopher Nolan, who wrote the script with brother Jonathan, gets so many of the big things right that I wished they had taken more time with the little ones.
  30. The most thoughtfully satisfying of the first six books.

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