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 4.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 58
Highest review score: 100 L.A. Confidential
Lowest review score: 0 Crash
Score distribution:
1518 movie reviews
  1. Astonishing if imperfect nature documentary.
  2. The sappy trappings that director Raymond De Felitta piles onto the burgeoning romance story line kills any spark that remains, despite the best efforts of the cast to keep it real.
  3. Gilroy has brilliantly played to his strengths in Spring Forward. With a story that has no room for big, obviously "cinematic" effects, he concentrates on simple staging, unobtrusive (though often beautifully evocative) visuals, and sheer performance. It's a decision that pays off.
  4. Emotionally gripping from start to finish, the movie presents an electrifying and unforgettable look at life in a place that God has all but forgotten.
  5. Cheadle, always a fine actor, is outstanding here--an almost willfully naive yet uncommonly decent man who sees civilization crashing and burning around him yet who, almost against his own better judgment, refuses to give in to it.
  6. Unless you're deeply familiar with Korean culture, you've truly never seen anything like it.
    • 79 Metascore
    • 90 Critic Score
    The film is so much like the book, it might as well come with a bookmark to hold your place when you step outside to use the restroom.
  7. If only Condon kept up the Q&A format, because when he ditches it the movie turns flat and familiar.
  8. Deftly delivered and free of gratuitous gloss, yet enormously rich in its unassuming manner.
  9. If you're shopping for neatly tied bundles of plot and the rigid arcs of "character development" common to mainstream movies, look elsewhere. Whether he's playing on the road or at home, Jarmusch always throws a lot of off-speed stuff, and that's his glory.
    • 79 Metascore
    • 90 Critic Score
    A fine entertainment value. It's beautifully made, drenched in deep, rich emerald, with sinuous tracking visuals driven forward by pleasantly African-flavored songs from Phil Collins.
  10. This engaging film proves a total pleasure, suitable for moviegoers who like their films a bit old-fashioned but still mainstream.
  11. It puts us in the shoes of men and women for whom the war is not something distant and intangible but a bloodbath in their own back yard, which makes them the very definition of embedded journalists.
  12. Fascinating and engrossing on every conceivable level
  13. This is anything but pleasant stuff, but it's a must-see for anyone interested in men and women, fathers and sons, and the kind of murder mystery in which the real casualty is the human soul.
  14. If Junge's first-hand recollections aren't always visually stimulating, they're still more illuminating than most cinematic re-creations of the era.
    • 78 Metascore
    • 80 Critic Score
    The movie felt fresh and resonant in spite of its overall familiarity.
  15. Davies has nailed Wharton's bitter satire of the flights and follies of New York society in the Gilded Age, and leading lady Gillian Anderson shows dazzling range in her portrayal of the book's doomed heroine.
  16. The original retains its dark tone and deadly serious anti-war message. For today's moviegoing audiences, this may not be your daddy's Godzilla movie, but chances are your granddaddy could teach you a thing or two about the context.
  17. A solid, well-crafted drama, with a tight script, sharp editing, and strong performances by the leads. Beware, however: This is no comedy.
  18. Like all good concert films, it's the next best thing to being there.
  19. A superb and piercing documentary.
  20. It's best appraised as a strong ensemble piece, a darkly dreamy slab of social commentary and definitely one of the year's best films.
  21. What Malick has fashioned here is less a conventional narrative than an impressionistic mosaic of our common, yet varied experience of life and death, as focused and clarified through the relentless lens of war.
  22. Cinema has done a fine job of documenting the anti-apartheid movement, even if too often the spotlight shone brightest on the white man through whom the black man's story was being told.
  23. Anderson and Sandler were meant for each other, and their romance is, unbelievably, our reward.
  24. It's difficult to imagine a more eloquent tribute.
  25. Part of the problem may be the use of non-actors in most of the roles. They look like real people, and they are entirely believable, but none has any kind of star charisma.
  26. While the movie is frequently sharp and funny and weirdly relatable, the material feels too much like reality.
  27. This is a beautiful, important film, and you should see it.

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