Dallas Observer's Scores

  • Movies
For 1,517 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 4.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 58
Highest review score: 100 The Twilight Samurai
Lowest review score: 0 Crash
Score distribution:
1517 movie reviews
  1. The musical numbers are energetic and fun.
  2. Finally, the man (Hanks) has delivered a moving, slightly unhappy, and ultimately hopeful story in which squishy love takes a backseat to the wondrous whirlwind of life. The season's most delightful surprise.
  3. 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.
  4. Hilary Birmingham -- makes an impressive feature directorial debut with this rural drama. She gets first-rate performances.
  5. Bigger, Longer & Uncut delivers: It's never less than funny, and at its best, it's truly hysterical.
  6. The deep thematic concerns are never fully developed, but the characters are, and the story compels. Also, the movie's pretty scary.
  7. 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.
    • 73 Metascore
    • 90 Critic Score
    Director Barry Levinson has given this swift, sure-footed film a matter-of-fact, improvisational look and feel. To appreciate its brisk, confident, wild comedy, all you need is a funny bone and a BS meter.
  8. Mostly, Mysterious Skin creeps you out, and not in any kind of fun way. There's an artfulness to it, but it's hard to imagine many viewers actually using the term "enjoyed" or "entertained" in conjunction with it.
    • 73 Metascore
    • 90 Critic Score
    What a breath of fresh air this stifling, claustrophobic, boldly uningratiating vision of an American subculture's last gasp imparts to its contrarian core audience. (Call me a hopeless addict: I've seen it three times.)
  9. More involving and intriguing than any by-the-numbers studio thriller. In large part, it holds our interest because of its stylistic boldness, not despite it.
  10. Tokyo Godfathers just might be the equivalent of "It's a Wonderful Life" or, to be hip and new-millennium about it, "Elf."
  11. Mostly it's just a sweet and lightly funny piece of highbrow piffle, as enjoyable as it is forgettable. There's no harm done, but there's not much else either.
  12. Plot matters more here than spectacle; the film's real climax involves no demolition, but rather two characters in a room quietly discussing devastating events in their past.
    • 73 Metascore
    • 50 Critic Score
    Conversation is as meaningless as anything else in this barbarist take on "The Searchers."
  13. This is a Julia Roberts Movie about only one thing: being a Julia Roberts Movie.
    • 73 Metascore
    • 70 Critic Score
    A perfectly entertaining little French comedy that doesn't quite lodge in your brain in the way you hope it would.
    • 73 Metascore
    • 90 Critic Score
    Because of the supremely artful way Shear and Reitz have pitched the story, it reaches into places few films, gay or straight, have gone.
    • 73 Metascore
    • 90 Critic Score
    Seductive from the start, the film grows more stimulating and involving as it goes along because these three are original people who mate and recombine unpredictably.
  14. If you're one of those people who complained that "Memento" could just as well have been told in chronological order, The Memory of a Killer may be your cup of tea.
  15. It has just enough "comedy" to qualify as crowd-pleaser.
  16. The young actors, all first-timers chosen in auditions in Puglia and Basilicata, are completely natural.
  17. As enormously entertaining as it is appalling.
  18. In the end, what Minghella has wrought is a nearly perfect drama of love and war (still the great subjects, after all), an epic that's fluent, frightening and beautiful all at once, that lifts the heart and dashes our dreams in about equal measure.
  19. It's hard to know just how much to trust Titanic Town.
  20. As detached and unfocused as a college pothead. And about as much fun.
  21. Eastwood provides more than an hour of easygoing fun, followed by 45 minutes of action and suspense.
  22. As a clear, exhaustive and highly intelligent discussion of one of the most pressing issues of our time, it's a success. As a work of documentary, however, it's flawed by its failure to limit its scope (or at least pare down its material), by its strangely stylized narration and by its lack of a story.
  23. What's wonderful about director Claude Miller's adaptation of Ruth Rendell's novel "The Tree of Hands" is its grand capacity for compassion and complexity.
  24. No character other than Antonelli is developed enough to register. Worse, the minor characters, most of whom are played by Joffrey dancers, are simply not actors.

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