Dallas Observer's Scores

  • Movies
For 1,519 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 3.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 58
Highest review score: 100 About Schmidt
Lowest review score: 0 The Long Kiss Goodnight
Score distribution:
1,519 movie reviews
  1. The most overrated movie of the year (of all time?) by people who should know better.
  2. It plays like a parody of suspense movies, then occasionally becomes serious, then boring, then makes a jarring 180, then frustrates, then gets vaguely interesting again.
  3. Pretentious yet devoid of poetry, left-of-center yet artless, this well-intentioned trudge does not exist to be enjoyed or appreciated so much as to be coddled and patronized as one would a retarded child.
  4. That this mess should come from the hand of Istvan Szabo, the brilliant Hungarian director of "Mephisto" and "Colonel Redl," is the real shocker.
  5. We're in for a long, unpleasant, reactionary ride.
  6. A film built upon transitions so weak and obvious it's astonishing the entire thing doesn't collapse on itself.
  7. Too much attention to art-deco detail, a meandering story that hesitates whenever it wants to touch an emotional chord, then squanders the opportunity with an eccentric line-reading or an extravagant camera angle.
    • 67 Metascore
    • 20 Critic Score
    Experiencing this movie is a little like watching a manic-depressive's medication wear off.
    • 66 Metascore
    • 30 Critic Score
    Notting Hill offers another example of moviemakers consoling themselves about how tough it is to be famous while congratulating themselves on how down-to-earth they really are.
  8. An ambitious, frustrating drag.
  9. If you were ever in marching band, you'll love this; if not, stay far away.
    • 62 Metascore
    • 20 Critic Score
    Screwball mistaken-identity crapfest...it's just utterly plain, a confection so bland you don't even care that it doesn't really make any sense at the end.
  10. The Dying Gaul becomes so overwrought in the last act that it ends up as pure histrionics.
  11. Björk holds the movie together, her natural charisma and the overwhelming intensity of her emotions should blind a lot of viewers to the ludicrousness of the story and the intentionally rotten videography.
  12. Hackman, playing it gleefully amoral, walks away with the film, for what that's worth...which is a video rental for fans of the actors involved. Yes, that's video, not DVD -- four bucks at Blockbuster is more than you ought to be paying.
  13. Forces its snuggly weirdo upon us and instructs us from the get-go to love him.
  14. Banal sit-comedy masquerading as religious deepthink dolled up as boy-meets-goy love story.
  15. The most offensive movie of the year.
    • 59 Metascore
    • 30 Critic Score
    Terrence McNally's Tony Award-winning work has been called "one of the major plays of our time." Moviegoers who aren't stage-struck may wonder, "What's the fuss?"
    • 59 Metascore
    • 10 Critic Score
    Kills whatever charm the first movie had by recycling its few serviceable parts.
  16. Lars von Trier's latest thingamabob is a large, pretentious blob of coulda-been. As in, it coulda been deep and insightful. It coulda been sociologically challenging. It coulda been formalistically thrilling. But it isn't.
  17. Sits before us like an exquisite platter of wax fruit, colorful, flavorless, and, if you eat it, very likely to come back up.
  18. A problem with Park's naturalistic worldview is that it's hard to find anyone to root for. The movie is beautiful to look at, but hideous in its narrative.
  19. It doesn't add up to much more than a trifle that might have been more impressive as a short.
  20. It's time to run, screaming.
  21. The very best thing about A Dirty Shame, a giddy sex farce from John Waters, is the credits.
    • 56 Metascore
    • 20 Critic Score
    May find it hard to sit without embarrassment through this bizarre mixture of paleontology, preposterous anthropomorphism, and fuzzy-headed New Age myth-making in which the only thing missing is the show tunes. Thank God for small favors.
  22. It's chatty when it wants to pretend it's deep and spiritual, messy when it's striving for chaotic and thrilling, and boring when it has no other options left.
  23. This highly sanitized, heavily costumed, dramatically inert nonsense makes last year's dreadful golf biopic "Bobby Jones: Stroke of Genius" look like a masterpiece.
  24. Russell, a former student of Buddhist monk-philosopher Robert Thurman's, is reaching too far, straining too hard, saying too much that adds up to so little after all the mumbos and jumbos tallied up by film's end.

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