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 4.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 58
Highest review score: 100 The Terminator
Lowest review score: 0 Basic
Score distribution:
1518 movie reviews
  1. Emits the embarrassing aura of a filmmaker desperate to be considered cool, yet utterly inept at finding original ways to reach that status.
  2. There's way too much schmaltz in the mix. Even the musical score bombs: Throbbing, eerie techno simply does not suit a character trapped in the 1940s.
    • 55 Metascore
    • 30 Critic Score
    Mimic is static, highhanded, and confused, wasting most of its 105-minute running time simply spelling out the premise.
  3. Seven Years in Tibet feels more like Seven Days in the Movie Theater. It refuses to come alive--not even when Brad Pitt, hirsute as a yak, wanders the frozen Himalayas with an Austrian accent that probably gave his dialogue coach hives.
  4. It ranks (indeed, it is rank) among the most soul-deadening movies ever made; it has no pulse and seeks to steal yours with a cynical vengeance.
    • 54 Metascore
    • 30 Critic Score
    Instead of a gripping, conscience-bending thriller, Paradise plods along, determined to be some sort of master chess game ruminating on personal and cultural value systems and the complex and often contradicting facets of loyalty, honesty, friendship, love, responsibility, self-preservation, and exploitation.
  5. Yes, the "Taxi Driver" parallels are intentional: Hill spells them out in the press notes, all but branding Observe and Report a Scorsesefied remake that reeks of stale Cinnabon.
    • 53 Metascore
    • 30 Critic Score
    Not too far from the version of "Serpico" staged by the Max Fisher Players in "Rushmore."
  6. Proves an absolute chore to sit through.
  7. Rent plays as a very long joke with no punch line, an exercise in mawkish sentimentality that's embarrassing to watch. Kudos to the actors for truly committing to their roles, but with this material, it might have been better if they hadn't.
  8. Moments of strained mirth indicate how false and fabricated the whole enterprise really is--just a couple of well-to-do superstars doing their darnedest to prove to us that they're regular folk. And failing.
  9. The film has no form or function; at best, it's a 90-minute infomercial.
    • 52 Metascore
    • 10 Critic Score
    It's not until the plot surfaces that Bring It On really begins to suffer.
  10. While tyro director Simon West fills Con Air with all the slam-bang action and well-honed wisecracks that were the more positive qualities of its predecessors, the film brims even more with all their worst qualities.
  11. Stripped of every major scary moment and restructured in what feels like a deliberate attempt to remove all suspense, this "horror" movie is now a domestic soap opera.
  12. If you really want to live life to the fullest, step one is to avoid wasting an hour and a half of your life in a theater showing Last Holiday.
  13. Cornier than the cornfields spread out in front of the dilapidated rural Texas manse inhabited by Robert Duvall and Michael Caine, playing grumpy old brothers with mismatched accents.
  14. A muddle—not amiably ambling, not affably shaggy, just a mess that gets messier till, at times, the whole thing looks improvised by amateurs more concerned with being clever than something resembling affectionate.
  15. A football film made by a man who apparently has seen little of the game outside of movies, and not very good ones at that.
    • 52 Metascore
    • 10 Critic Score
    Wild Things reaches such dizzying heights of wretched dialogue, creaky contrivances, and panting performances, you're forced to wonder if the filmmakers realized how bad their script was and switched gears into pure camp at some point during the shoot.
  16. It's easily the ugliest film Gilliam's ever made, a movie shot with a lens someone forgot to wipe. It's also his loudest: Every scene is amped up to 11, and every line of dialogue is delivered as though it's a cry for help from the bottom of the well.
  17. At its best (which isn't much), Le Divorce blusters along with the tolerable tedium of had-to-be-there home movies; at its worst (which is about 90 percent), it illustrates why the French went and invented the word merde.
  18. Obnoxiously dull.
  19. What Lies Beneath is my head on the movie theater floor, snoozing through this film.
  20. This ain't no movie. It's a very long, very tedious infomercial for Phantom Menace action figures, on sale now at a Target or Toys "R" Us near you.
  21. Assassination Tango is Duvall's fourth, yet it still feels like a first film; worse yet, it feels like a waste of an undeniably great actor.
  22. What isn't hard to say is that Noé really isn't a very talented filmmaker.
  23. Singleton's version is cynical and silly--one long set-up to a closing scene that promises, or threatens, a sequel.
  24. You're almost tempted to laugh at Birth by the end, but by then you're too busy cursing it to bother.
  25. The picture's biggest problem is that no one is sympathetic.

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