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 3.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 58
Highest review score: 100 Being John Malkovich
Lowest review score: 0 Road Trip
Score distribution:
1,518 movie reviews
  1. The result is an experience rich in pleasure and surprise, one that easily stands up to multiple viewings.
  2. With more angst than you can shake a stick at, High Art sets a new course for the indie American film. Instead of the usual Scorsese-esque buddy confab, we have something closer to the funky Fassbinder world of marginalized, pansexual depressives.
  3. The whole thing is absolutely beautiful to look at, even when it has a bad case of the cutes.
  4. The film is a nightmare but an oddly comforting one.
  5. Inspirationalism wafts off the screen in little perfumed puffs.
  6. Anderson and Sandler were meant for each other, and their romance is, unbelievably, our reward.
  7. Altman gladly admits there's not much of a story here; his movies are driven by characters.
  8. May
    With a level of dark humor akin to the screenplays of Todd Solondz, and a visual style reminiscent of Dario Argento, May is one of the funniest, most disturbing, yet strangely touching movies of the year
  9. The striking graininess of the film stock, the near-documentary style of the setups, and Michael Nyman's attentive score add up to a relatable and ultimately hopeful experience.
  10. Audiences will leave the theater ready to sign up for some dance classes themselves.
    • 60 Metascore
    • 80 Critic Score
    The Governess, a surprisingly luminous film that deftly stands somewhere between a Harlequin paperback and Jane Campion's "The Piano."
    • 67 Metascore
    • 80 Critic Score
    The scares early on are potent and get Stir of Echoes off to a chilly horror-movie start.
  11. Those needing their Irish fix will be satisfied and no doubt will leave the theater in far greater spirits.
    • 74 Metascore
    • 80 Critic Score
    This chamber drama is a deeply felt and oddly moving reverie on death and the process of taking stock of one's life.
  12. Rookie writer-director Dylan Kidd, late of NYU film school, knows how to get the best out of jittery, handheld camera shots, and he knows how to go for the jugular. Roger is the bleakest comic portrait of misogynist self-delusion we've seen in a long time.
  13. In her first major role, Ferrera is amazing -- It is a wonderfully natural performance. To top it all off, she and Ontiveros are completely believable as mother and daughter.
  14. Like all good concert films, it's the next best thing to being there.
  15. Rich in story, character, and design, The Cider House Rules is obviously a collaborative effort, but above all it is a triumph for director Hallström.
  16. This is probably the funniest Mamet piece to date (but not the weightiest), and it might be destined to take a seat alongside "The Player" and "Sunset Boulevard" in the front row of movieland satires.
  17. If you're the sort who enjoys shedding such in darkened theaters, your must-see summer movie has arrived.
  18. This is a beautiful, important film, and you should see it.
  19. The movie is smart, funny, romantic, and rousing.
  20. Through hilarious and charming interviews with the kids, extended chat sessions with Green, a few words from parents, and a healthy dose of performance footage, we get a sense of what sort of community Green has created, for better and worse.
  21. Packs an unexpected emotional wallop. Gavin Hood's film tells a story of violence and redemption that's even more remarkable when you consider that neither of the lead performers had ever acted in a movie previously.
  22. Tokyo Godfathers just might be the equivalent of "It's a Wonderful Life" or, to be hip and new-millennium about it, "Elf."
  23. It's a movie about discomfort and distance, like an episode of "Curb Your Enthusiasm" or "The Larry Sanders Show" shot in deadpan black-and-white.
  24. Emotionally powerful.
    • 68 Metascore
    • 80 Critic Score
    Although Afterglow bears the lyrical slow-zooms, tracking shots, and idle character development Rudolph learned while working as an associate director on such Altman classics as Nashville (where he first met Christie), it's safe to say that much of the film's strong critical reception is due to the director's showcasing Christie's undiminished movie-star grace so reverently.
  25. Wong weaves a spell that no other director could create.
  26. A vivid double portrait of the artistic sensibility in its many weathers -- expressed by two fine actors clearly engaged in a labor of love.

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