Charlotte Observer's Scores

  • Movies
For 1,432 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 Howl's Moving Castle
Lowest review score: 0 Waist Deep
Score distribution:
1,432 movie reviews
  1. You can't root for Ronnie. You can't identify with him. You can't hope he gets the girl – any girl. But you may want to look on with stunned fascination as he ticks away, ready to explode.
  2. South African director Neill Blomkamp set and shot the film around his native Johannesburg, so parallels to apartheid leap to mind. Yet the script he wrote with Terri Tatchell applies to any culture that bluntly excludes another.
  3. Two things keep the film off Disney's top shelf. First, Naveen is a dull hero; his good-natured vanity isn't engaging until late in the story. Second, Newman's songs are less bland than usual but no more memorable.
  4. 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.
  5. Every era gets the Robin Hood it needs…Now director Ridley Scott and writer Brian Helgeland have given us an intelligent, layered story suited to our grim, patience-trying times.
  6. Nolan’s tale is not only a trip through mental labyrinths but a reminder that memories may cripple us, unless we learn to let them go.
  7. It gives such a down-to-Earth view of the joys, terrors, boredom, anxieties and camaraderie in a war zone.
  8. This is a game of numbers, not personalities, and a shrewd man wants the bigger numbers on his side when historians pick up their pens.
  9. Anyone who saw the Oscar-nominated Mulligan in "An Education" knows what she can do. If you didn't, you're in for the kind of quietly revelatory acting that portends a brilliant career.
  10. The writer-director waited until he had the clout, budget and prestige to attract a top-flight cast, then turned Colored Girls into a movie with a little less darkness but plenty of heart and guts.
  11. Those of us who admire Charles Portis' novel have waited 40 years for a screen version that's as literal as possible – and the Coen brothers just about deliver it.
  12. Polished, thoughtful and touching.
  13. After 30 minutes, I wondered why I was watching a drama about a quarrelsome couple who seemed so obviously wrong for each other. After 60 minutes, I knew. After 90 minutes, I cared. By the end, I was riveted.
  14. You may not realize the imprint it has left until its last season comes to a close.
  15. Anton has a sad, gentle detachment that allows him to turn the other cheek literally through a series of slaps.
  16. I have never seen elementary schoolers more passionate about education than the ones I met at a school in rural Kenya, not far from the shadow of Mount Kilimanjaro.
  17. Most of the actors live their roles, and Fassbender (Rochester in the last "Jane Eyre") is superb as the wolflike, undisciplined assassin.
  18. Markowitz, Daley and Goldstein sounds like a New York firm that delivers financial advice, but they're asking you to invest only $9 of your cash and 100 minutes of your time. They have written the funniest movie I've seen this year in Horrible Bosses.
  19. 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.
  20. At bottom, all Payne's films make us smile, often ruefully but hopefully.
  21. This film has two of Fincher's happiest trademarks: It's full of information and stretches over a remarkably long time (165 minutes), yet it's neither confusing nor overextended.
  22. Talkies may have killed silent movies, the way TV serials and soap operas wiped out radio dramas. But there are stories most effectively told in the old style, and The Artist is proof.
  23. The film requires close attention, especially while it jumps back and forth in time for the first half-hour, but all the pieces lock into place tightly by the end.
    • 54 Metascore
    • 88 Critic Score
    Lloyd finesses a deft script of brisk, quick strokes by Abi Morgan ("Brick Lane," "Shame") into a terrific entertainment.
  24. Most movies about people passing themselves off as the opposite sex can't sustain the illusion, but "Nobbs" does.
  25. In rare cases – and The Woman in Black is one of them – a story may be more atmospheric when less is left to the imagination.
  26. Every time it starts to feel like something we have known, we realize how unlike us these Iranian characters are.
  27. The film's main virtue, a large virtue indeed, is that it does not give anything away before its shockingly apt time.
  28. Cedar is mostly interested in the father-son dynamics, and he cast excellent actors. Lewensohn, a famous Israeli theatrical director, makes his film acting debut, while the veteran Ashkenazi ("Late Wedding") handles his low-key role with bearlike grace.
  29. The film has two active virtues, too. It shows human beings in all their pitiable, noble, stupid or sensitive modes of action, and it reminds us there's always time to fall in love, if only for a few days.

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