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 4.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 58
Highest review score: 100 Topsy-Turvy
Lowest review score: 0 How to Lose a Guy in 10 Days
Score distribution:
1518 movie reviews
    • 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.
    • 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.)
  1. 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.
  2. Tokyo Godfathers just might be the equivalent of "It's a Wonderful Life" or, to be hip and new-millennium about it, "Elf."
  3. 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.
  4. 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
    • 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.
  5. Overlong, but with moments of greatness.
    • Dallas Observer
    • 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.
  6. It has just enough "comedy" to qualify as crowd-pleaser.
  7. The young actors, all first-timers chosen in auditions in Puglia and Basilicata, are completely natural.
  8. As enormously entertaining as it is appalling.
  9. 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.
  10. Eastwood provides more than an hour of easygoing fun, followed by 45 minutes of action and suspense.
  11. 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.
  12. By the end, you may be exhausted by the effort of trying to unravel the thing, but you may also be taken by the power of its spell. This is a movie that compels you to watch.
  13. Virgin is astoundingly astute but also wondrously clever, written with more care and joy than any hundred comedies to come out of Hollywood in years.
  14. This full-tilt visual and aural bombardment is simply a lot of fun. It never lets up. Nor does it ever want to.
  15. Scrupulously accurate, sometimes-tedious account of Stephen Glass' malfeasance.
  16. The filmmaker who once aimed to enchant his audiences with cheerful stories of beatific visitors from outer space now wants only to scare the hell out of us. E.T., as it turns out, is a mass murderer after all, and we are his Reese's Pieces.
  17. Pure joy to watch -- and an invaluable documentary record of a bygone era.
  18. No matter how well you think you know this tale, you do not know it at all. It offers the oldest clich├ęs polished up like some brand-new thing by director Greg Whiteley.
  19. A perfect marriage of author and director.
  20. The film's demands may be too perplexing.
  21. In the end, Stone Reader gives us an old-fashioned romantic's view of writers and their craft--complete with the hint of a happy ending.
  22. Though it's become almost redundant to say so, major kudos go to Leigh for actually casting people who look working-class; you'd be hard-pressed to get an American studio to go along with that, even though Leigh alumni often become famous.
  23. It's beautiful to look at, and yet the story is strangely lacking; the novel's first chapter, available online at author Chevalier's Web site, tchevalier.com, seems to contain more plot points than the entire film.
  24. That the film is good rather than great proves a disappointment, but just finding a good film these days is rare, especially a big studio picture.
    • 72 Metascore
    • 100 Critic Score
    Winterbottom has never before done such potent work; he's created a fiction film about the siege of Sarajevo that bristles with the raw, unnerving textures of a battlefield documentary.

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