Dallas Observer's Scores

  • Movies
For 1,518 reviews, this publication has graded:
  • 47% higher than the average critic
  • 3% same as the average critic
  • 50% lower than the average critic
On average, this publication grades 3.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 58
Highest review score: 100 The Terminator
Lowest review score: 0 Little Nicky
Score distribution:
1,518 movie reviews
  1. Uou may choose to read My Date with Drew several different ways -- as endearing or frightening, as bleak or expectant, as the optimistic daydream of the naïve Everyman or the beginning of a problem that could only lead to a restraining order.
  2. The whole thing has a dour resolve that undermines its attempts at humor.
  3. There's a lot of imagination at work here; too bad just a little bit of it couldn't have been channeled into the creation of a better narrative.
  4. There's so much EFFORT here to convince us of the switcheroo (already one of Hollywood's oldest ploys) that we soon weary of it.
  5. All of the plot developments seem half-hearted -- which is a shame, because the star has the charm to succeed if given a better movie.
    • 33 Metascore
    • 50 Critic Score
    In the end narration, Shane gripes that the new corporate owners who took over Studio 54 after Rubell and Schrager's crash made the club "safe and boring." But that's exactly what Christopher has done to 54.
  6. The movie features several political themes for adults and is mostly delightful for kids. Just consider yourself warned about the live-action Carly Simon video at its tail end.
  7. Although meant as a light comedy-drama in which both characters are sympathetic, The Housekeeper instead proves irritating.
  8. Although the press notes liken the movie to "Easy Rider" (why not "Lawrence of Arabia" while you're at it?), the obvious comparison is to the "Fast and Furious" franchise, which shares the same producer. Actually, the closest spiritual cousin may be "Pee-wee's Big Adventure."
  9. The World's Fastest Indian is not likely to be regarded as some kind of masterpiece--far from it--but Hopkins once more keeps our ears open and our eyes fixed on the screen.
  10. If it weren't for Murray, there'd be nothing at all to the film, which forgets all conventional notions of story or characterization.
  11. 50 Cent sounds articulate in his raps, but as a lead actor, he talks like his mouth is filled with food.
  12. Kusama offers moments of inspiration, but it frustrates like hell that she couldn't nail it completely.
  13. The ludicrous casting of Hoffman is just the fatal bit of kindling on this Joan's fire.
  14. More well-meant than well-made, the movie is ethnically accurate (sometimes, you smother in the marinara), but its forced sensitivity can get abrasive, and the drama is full of false notes.
  15. Schultze has a spare style, deliberately slow pace, and so little dialogue that to say it's in German with English subtitles seems to be stretching the truth.
  16. A mind-numbing, achingly post-modern advertisement for itself, which attempts to distract us from its highly merchandised nature by constantly referring to it. In other words, it's morally corrupt, but your kids will love it.
  17. In this beautifully devious, exceptionally well-made entertainment, Mr. John Frankenheimer does it all, and more, with the assurance of an old master.
  18. Most of it is decidedly lame. The actors, however, are ingratiating.
  19. Did nobody involved in this project notice that it was retreading a very deep groove?
  20. Only Kerry Condon, as Freeman's geeky adopted daughter, plays anything approaching a realistic character.
  21. Revelatory and disappointing.
  22. Where are our Tracy/Hepburn screwball combos? Part of the appeal of "Wedding Crashers" was that Isla Fisher truly did have the comedic chops to match Vince Vaughn, and Just Friends suggests that Reynolds and Faris have potential greatness together too. Just not so much in this film.
  23. Sure, it's amusing, but it isn't much more.
  24. In the end, the filmmakers strike a bad bargain between action and myth: In their obvious attempt to shoo everyone into the tent--romantic and roughneck alike--they don't serve either end of the spectrum very well.
  25. Despite its formalistic failings and truly absurd Porn Moment, there's a morbidity here that feels quite genuine, and, after the movie is over, it amounts to rough-hewn poetry.
  26. Oddly, the film's strengths -- its quiet, understated manner; its non-plot; the awkward speech patterns and uncomfortable pauses that suggest emotional isolation -- are also its weaknesses.
  27. It's nothing more than a very long movie about someone, literally and metaphorically, having to get back up on a horse.
    • 44 Metascore
    • 50 Critic Score
    Isn't great; it doesn't come within a Yukon mile of its TV namesake. But it's agreeably bizarre.
  28. Contact sure is pretentious. It doesn't deliver on the deepthink, and it lacks the charge of good, honest pulp. It's schlock without the schlock.

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