Charlotte Observer's Scores

  • Movies
For 1,479 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 2.5 points higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 Shutter Island
Lowest review score: 0 Waist Deep
Score distribution:
1,479 movie reviews
  1. 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.
  2. It never commits the sin of sentimentalizing old age, as Hollywood usually does when it deigns to admit that people over 55 exist.
  3. The characters, irritating as they can be at first, grow on you as they grow up.
    • Charlotte Observer
  4. 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.
  5. But as cynical as I may have been going in, I came out a believer.
  6. Everything about this film, from the title to the metaphors, remains cloudy. And you can watch clouds only so long before you realize they don’t have any weight at all.
  7. Director Stephen Frears...drops down to the underclass in "DPT," examining the ways in which educated illegals fight off despair, poverty and extradition.
  8. Punch-Drunk Love buries a terrific performance by Adam Sandler under a heap of faux cleverness, meaningless symbolism and irritating mannerisms.
  9. Virtually all science fiction functions as metaphor, and I took this film to be a metaphor for the act of becoming fully human.
  10. 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.
  11. 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.
  12. The most thoughtfully satisfying of the first six books.
  13. If this new film doesn't quite go to 11, it's a healthy 8½.
  14. Less gloriously showy than "Memento," but it proves you can still craft fine art under the auspices of a big studio.
  15. Anyone who enjoys the novels of Ed McBain, the Oscar-winning "All the President's Men" or any televised variation of "CSI" will be at home here.
  16. Raymond Wong, who has become Chow's favorite composer, iced this cake with music that sounds like Beethoven, Henry Mancini's jazz and all the James Bond themes run together in a blender.
  17. Martin Scorsese understands one character better than any other American director: the man who rises in the world to wealth or prominence without attaining what he wants most. That's why Howard Hughes is an ideal subject for this director.
  18. Christian Bale loves to suffer on-screen. Werner Herzog loves to make people suffer on-screen. Rescue Dawn is proof they were made for each other.
  19. An animated film that challenges preconceptions about the genre and foregoes the usual romance/adventure structure.
  20. The loosely autobiographical 8 Mile, an uneven but watchable drama about life in Detroit's slums, begins the shrewd transformation of vitriolic rapper Eminem into a mainstream figure.
  21. Most importantly, Shut Up & Sing is about what happens in the music industry to people who won't.
  22. The best war movies don't preach against war: They remind us of the costs for soldiers and families and ask us to consider whether those costs are worth paying. The Messenger does that without firing a bullet or putting us on a battlefield.
  23. Feuerzeig leaves a lot of territory unexplored. Why did people overlook his suffering and bizarre behavior for so long? Were they cold-hearted profiteers, onlookers enjoying a freak show or honestly ignorant of his troubles? Are there links between Johnston's creativity and madness?
  24. Characters in Breillat's movies often make sex their god, lose faith in it, then find their lives hollow and grim. Bergman wouldn't have been so concerned with bodily woes, but he'd have understood.
  25. Cool. Stupid. Juiced-up. Feeble. Stripped-down. Self-indulgent. Clever. Sophomoric.
  26. A three-hour-and-10-minute exercise in slight characterization, pointlessly showy editing and vapid plotting.
  27. 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.
  28. This is one of the few recent westerns that requires you to keep your eyes open and memory engaged.
  29. Its main pleasure lies in watching Bush thaw under gentle emotional heat applied by the few people who haven't given up on him.
  30. Writer Guillermo Arriaga earns most of the blame. He played similar games with narrative in the vastly better "Amores Perros" and "21 Grams," jumping back and forth in time to show relationships among subplots and characters. But "Burials" barely has one plot.

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