Charlotte Observer's Scores

  • Movies
For 1,429 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 Harry Potter and the Deathly Hallows: Part 2
Lowest review score: 0 Left Behind
Score distribution:
1,429 movie reviews
  1. If you're tired of false holiday cheer, Lilya 4-Ever will provide a corrective to the spiritual eggnog force-fed to us all season. The climax takes place during Christmas, though one that would make Tiny Tim grateful for his crutch and cold chimney corner.
  2. It's possible to groan, chuckle, wince and be moist-eyed, sometimes in a span of seven or eight minutes.
  3. Plays out like a sprinter competing in his first distance race: It bursts forth with tremendous energy, sustains itself for quite a while, loses steam near the end but finishes ahead of most of the pack.
  4. The terrific Spellbound really isn't about the ability to tear words apart letter by letter. It's about nerve-wracking competitiveness.
  5. A richly satisfying adaptation of Louis Sachar's novel.
  6. Unobtrusively satisfying.
  7. It's among the most inventive, screwily funny and consistently surprising movies I've seen in years.
  8. Impassioned concert sequences with Ben Harper, Chaka Khan, Gerald Levert and especially Joan Osborne prove the Brothers' balanced approach still works on Motown chestnuts.
  9. The funniest, crassest, wildest, most musical, most satirical and most scatological of the Powers trilogy. And you get to watch Britney Spears' head explode. What more could you want?
  10. Has more twists than the Pacific Coast Highway and more layers than a stack of silver-dollar pancakes. If you can wrap your mind around one unlikely condition, the picture provides unalloyed pleasure for connoisseurs of cinematic con artists.
  11. Each major character is complex, none more so than Bill. He's almost Shakespearean in scope.
  12. The rabbits, foolishly introduced to a land that couldn't support them as they bred and dispersed, are symbols of the English: ravenous, unheeding, ineradicable and a constant threat to the native way of life.
  13. Brilliantly interweaves stories that take place decades apart, and features stellar work by three of the best English-speaking actresses: Nicole Kidman, Julianne Moore and Meryl Streep.
  14. This is the first real family comedy I've seen in a long time: one honest enough to satisfy teens, wryly funny enough for adults and zany enough for little kids.
  15. You can say nothing of Castle-Hughes except that she's already a movie star: The camera loves her and we do, too.
  16. The results require immense patience but also reward it immensely.
  17. The most sophisticated and satisfying ghost story on film since "The Sixth Sense."
  18. His height didn't stop independent writer-director Thomas McCarthy from casting his friend in The Station Agent, scoring a triumph for both.
  19. McNamara's too mentally adroit to let Morris pin blame or guilt on him, and the director's not interested in shaming him.
  20. Perelman and Otto make auspicious, nearly flawless debuts.
  21. It settles into the typical reflective mode of Iranian films, but something IS happening: A human being is slowly, sullenly, silently approaching his combustion point.
  22. This film reminds us you can have a miracle only when David slings a stone at Goliath, not when two Goliaths pummel each other with sticks.
  23. Reflective, touching, intimate portrait of a samurai facing action in his waning years.
  24. 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."
  25. Control Room ends by acknowledging that independence, accuracy and even truth itself may be illusory.
  26. In an era when most scripts are written by committees of monkeys, hearing one man's intelligent voice is an almost forgotten pleasure.
  27. The technical side of Baadasssss! far surpasses that of "Sweetback," and re-created scenes from the 1971 film look much better in the son's hands than they did in the father's.
  28. Like a story-spinner from the "Tales of the Arabian Nights," Steven Spielberg begins by demanding we accept impossible things. If we do, his spell can enchant us; if not, it must vanish like colored smoke.
  29. The ex-lovers' new conversation is stimulating and banal, selfish and broad-minded, affectionate and recriminatory, insightful and obtuse - in short, the kind of dialogue two people might have while pouring out their hearts and poring over their pasts.
  30. Marston doesn't develop the characters, except for the strong-willed and quick-witted Maria.

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