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. The movie seemed a disappointment at first, until I decided I was missing the point: It’s actually a drama about the way people treat a celebrity – with fear or reverence, as a source of income or reflected glory– and the way their own personalities change around him, while his stays the same. In that way, the film’s a small triumph.
  2. A rarely honest, funny movie.
  3. This picture won't attract white audiences. I doubt that blacks would flock to a Jerry Seinfeld concert film. But we'd all get along better if we realized we had the right to laugh at each other's foibles
  4. Impassioned concert sequences with Ben Harper, Chaka Khan, Gerald Levert and especially Joan Osborne prove the Brothers' balanced approach still works on Motown chestnuts.
  5. The film’s fast, amusing, good-looking and not overlong, which is all sensible non-geeks ask of such movies.
  6. Mitchell keeps the direction simple and well-behaved, usually just pointing the camera at the speaker, but you can see why this topic appealed to him.
  7. Steven Zaillian never seems completely at home with these characters, not because he's white but because he's a cerebral screenwriter frustrated with a story that gives him little that's meaningful to say. Like Washington and Crowe, he's a chef functioning here as a short-order cook: The meal's perfectly edible but falls short of delicious.
  8. Superbad simply isn't. It isn't super, as it intersperses crudely funny gags with an equal number of dry spots. It isn't ever truly bad, because even the lame segments pass quickly.
  9. Slight, enjoyable comedy.
  10. It's ploddingly directed, indifferently acted and insufficiently frightening.
  11. If you ride the paranoiac tide, letting Jonathan Demme's assured direction carry you along, the sardonic humor and anxiety-inducing message work on you.
  12. Here’s a paradox: The millions of people who have read Stieg Larsson’s The Girl With the Dragon Tattoo are the panting target audience for the Swedish-language film adaptation. Yet they’re also likeliest to be disappointed by this carefully crafted drama, while people who haven’t read the book are likely to enjoy the movie and wonder what the literary fuss is about.
  13. A loving interpretation of C.S. Lewis's beloved parable for children, and it's almost perfect in every detail. Yet there's the one difficulty: It's almost perfect in every detail, fully realized in too few.
  14. Hank Greenberg was to Jews what Jackie Robinson was to African Americans: a great athlete, handsome and hard-working, who took the first line of abuse from bigots and proved that his people belonged at the highest level of professional sports.
  15. British director Stephen Walker approached this project with wide-eyed good humor.
  16. Unobtrusively satisfying.
  17. Winterbottom has darkened the tone: The final scene takes place during a golden sunset that brings no closure to either man.
  18. Watching Lovely and Amazing is like coming into a long-running, well-written television series where you've missed the first half-dozen episodes and probably won't see the next six.
  19. A horror film that doesn't wear out a moment of its welcome.
    • Charlotte Observer
  20. Top honors go to Guinee, who steadily builds his character from tiny details, and Reaser, who's understood through eyes and attitude while speaking a hodgepodge of German, Norwegian and English.
  21. There may not be much meat in Hodges' stew, but the sauce was so tasty I felt satisfied after the light meal.
  22. The film isn't quite as striking as its star, but it's just as honest.
  23. To adapt it for a 130-minute movie, Irving ruthlessly cut away subplots, eliminated supporting characters and pared down the traits of the ones that remain.
  24. Fiennes isn’t naturally an outgoing performer, and he’s playing the most extroverted author in English history. So he does his best work in intimate moments, when Dickens finds himself at a loss for words.
  25. Over the course of 108 minutes, The Royal Tenenbaums drops downward on the humor scale from hilarious to funny to quirky to pretentiously bizarre to chaotic.
  26. It has the charm, irony and saucy wit of the original, plus two supporting characters -- a suave, egocentric feline and a cheerfully conniving fairy godmother -- who are funnier than anyone in "Shrek."
  27. I never did sort out the gangsters fighting for control of a 19th-century town, nor did I figure out exactly what happened to the main henchman. But I was rarely bored.
  28. Enchanted charmingly reworks all the old favorites while incorporating fresh twists of its own.
  29. All three leads give effective, low-key performances. (I don’t remember a single character raising a voice.) Their acting fits the tone of this movie and all the ones Reichardt directs: Her camera moves slowly, and she accumulates tension by showing detail after detail.
  30. Lawrence gives the same committed, heart-rending performance, and she’s even more saintly than before: The script never lets her fire an arrow except in self-defense, and she stubbornly defies Snow in public, though she knows the probable consequence is death. Hutcherson has more personality this time, yet Peeta doesn’t deepen as a character.

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