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 4.9 points lower than other critics. (0-100 point scale)
Average Movie review score: 58
Highest review score: 100 Fargo
Lowest review score: 0 The Long Kiss Goodnight
Score distribution:
1517 movie reviews
  1. Even though The Devil's Own reportedly cost close to $100 million, it comes across as a sleek, medium-grade character study occasionally punctuated by gunfire. If this is what $100 million buys these days, can $200-million movies be very far off?
  2. Schreiber's edits gut the story of its power and punch. His film is strong on comedy and farce, enjoyable as a quirky-friendship gag, but it fails in its attempt at tragedy.
  3. An engaging preapocalyptic fantasy.
  4. Does not measure up to its predecessor, but it's child-friendly and lasts only 45 minutes.
  5. Certainly delivers violence and heroics, but not in a way everyone is going to enjoy -- it's brutal and harrowing.
  6. It's a dark lark, no more and no less, a caper comedy full of enough kinky jokes to remind the audience that, indeed, you're supposed to laugh at it every now and again.
  7. Here's a bizarre hodgepodge of influences: "Kindergarten Cop" meets "Sound of Music," filtered through the Hulk Hogan movie "Mr. Nanny." The formula, by now so overused it's actually formless, is pure Disney
  8. If you love Kawasakis, Hondas, and Yamahas, and don't mind tin-eared writing, get down to the multiplex.
  9. Disappointingly mediocre.
  10. In the end, it's all just too damned much. It's more exhausting than edifying.
  11. The digital computer work is smooth and convincing; the animals look as if they are talking. But their voices are either devoid of personality or grating and annoying.
  12. You'd better be in the mood for a blitz of bumper-sticker philosophy, a major machismo transfusion and 94 minutes' worth of mind-numbing repetition, complete with a musical score seemingly lifted from reality TV.
  13. Match Point may well be a return to form but only for those who love "September" and "Interiors," movies populated by Bergman evacuees too inert and dreary to even crack a smile.
  14. So uplifting, it's almost...gross.
  15. Writer-director Daniel Taplitz seems to be trying to invoke classic screwball with this convoluted setup, but it plays like mediocre sitcom.
  16. The animation looks good, especially when CG-enhanced, but the Rugrats babies' constant snot jokes, bug-eating and "cute" mispronunciations grate after a while.
  17. An occasionally amusing but wrongheaded remake that arrives more than four decades after the original blazed across the screen.
  18. Ray
    Were it not for the performance of Foxx, the movie, which touches every base and slows to a crawl near home plate, would sink even when the score soars.
  19. Filled with so much religious righteousness--endless Bible-readings...that the film feels more like a recruitment tool for Soldiers for Christ than a look at the bloody four-year conflict that tore this nation apart.
  20. The best you can say of Asylum is that it plays like a topless "Twilight Zone."
  21. If, having seen "Jackass" half a dozen times, you now yearn to watch a pair of identical twins from Texas Tech cavort in the wet T-shirt contest or hear mobs of drunken undergraduates screaming for more margaritas, here's your flick.
  22. The cast has plenty of room to emote, but their task feels a bit empty and thankless. For the most part, they're carrying the director's water.
  23. The soul of Gladiator is made sluggish by a maddening lack of suspense.
    • 37 Metascore
    • 50 Critic Score
    The best things about this numbingly predictable service-academy drama are its talented leading men.
  24. The flashy sensationalism of The Sixth Sense -- maybe the best thing about it -- is at war with its desire for contemplation.
    • 71 Metascore
    • 50 Critic Score
    With the exception of Murphy . . . the rest of the cast Oz has assembled acquit themselves only adequately or worse.
    • 77 Metascore
    • 50 Critic Score
    An indictment--a prime example of promising material that's been Cruisified.
  25. As Frank, a widower who falls for his son's conniving would-be girlfriend (Maggie Gyllenhaal), Arnold is a revelation.
  26. The real fault with this movie lies less with the clunky screenplay from Himelstein than with the acting, of which there is very little of note.
    • 54 Metascore
    • 50 Critic Score
    There is not even the slightest trace of freshness or originality in either the script -- which was written by Ron Bass and William Broyles from a story by Michael Hertzberg and Ron Bass -- or in Amiel's stodgy direction.

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