New York Observer's Scores

  • Movies
For 679 reviews, this publication has graded:
  • 47% higher than the average critic
  • 1% same as the average critic
  • 52% lower than the average critic
On average, this publication grades 5.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 56
Highest review score: 100 Labor Day
Lowest review score: 0 Seven Psychopaths
Score distribution:
679 movie reviews
  1. A dismal hack job pretending to be a take on modern relationships.
  2. The insurmountable problem is that Imogene is not a very original, dynamic or charismatic character, and Kristen Wiig is not a very original, dynamic or charismatic actress. Nobody in this movie is really appealing enough to be much fun. The state of New Jersey should sue.
    • 56 Metascore
    • 38 Critic Score
    It just goes to show, no matter how burnished your backdrop or splendiferous your setting, if your script is crap, you're stuck with a total dud.
    • 26 Metascore
    • 38 Critic Score
    I'm not sure what went wrong with this picture. It could just be bad judgment on the part of screenwriter Steve Adams, who for all we know finds stalking adorable.
    • 52 Metascore
    • 38 Critic Score
    Speaking of afterthoughts, Olivia Wilde has a bit part as a single mom who unwittingly aids and abets the Brennans in their escape, and Brian Dennehy lurches silently through a number of scenes as John's working-class father. It's jarring to see such big-name actors in such thankless roles.
    • 44 Metascore
    • 38 Critic Score
    If there is a breakout role in Millers, it is that of Will Poulter, the 20-year-old English actor who played Lee Carter in 2007’s "Son of Rambow." As Kenny Rossmore, the hapless neighbor who ends up playing the teenage son of Ms. Aniston and Mr. Sudeikis during their version of National Lampoon’s Mexican Vacation, Mr. Poulter strikes a perfect comedic balance between sweet savant and pop-culture lech.
  3. Ant-Man is a brainless bore and a colossal waste of money, time and computer-generated special effects.
  4. I can’t imagine any film starring Jane Fonda to be a total loss, but This Is Where I Leave You, a vulgar, inept and gruesomely contrived load of junk misleadingly labeled a comedy comes perilously close.
  5. After.Life, with a pretentious point between the two words in the title for no explainable reason, is a horror film with a macabre style but few of the creepy chills of cheaper, cliché-riddled thrillers that are a dime a dozen these days.
  6. It still has a long way to go before the term Mumblecore (which sounds like a Harry Potter major at Hogwart's) can be confused with the term Class Act.
  7. A creepfest so stupid it makes trashy slash-and-burn epics like "Humans Versus Zombies" and "I Spit on Your Grave" seem like Molière and Proust.
  8. Movies get crazier and more incomprehensible every day, but you don’t know demented until you see Winter’s Tale.
  9. As the film builds to a feverish hysteria, you have to work hard to keep from laughing.
    • 37 Metascore
    • 25 Critic Score
    A vague and forgettable crime thriller that would have benefited from more character development or at least a grounding of the narrative in one central protagonist.
  10. Incompetently directed by Scott Coffey and weakly written by Andrew Cochran, a rotten egg called Adult World is anything but.
  11. Blame who you must, but whatever went wrong with 6 Souls, God had nothing to do with it.
  12. There’s no humanity in this grave disappointment that justifies the passion his fans feel for the father of the iMac. Steve Jobs and all of the characters around him fail to come to life in any absorbing fashion. They’re not real people; they’re all hashtags.
  13. Gifted and sincere as she always is, there's not much Ms. Seyfried can do with this tripe.
  14. Expensive, derivative and boring as mattress ticking masquerading as designer fabric.
  15. Pretentious (it thinks it’s a comedy but descends into depression faster than you can fill a Prozac prescription) and self-indulgent (whole scenes are thrown in for no reason except to stretch a five-minute sitcom pitch into nearly two hours of phony, contrived tedium), it’s a mess begging for coherence.
  16. Based on an overly imaginative book by Stephen King’s son Joe Hill, it’s a movie that doesn’t exactly unfold as much as hyperventilate.
  17. Mostly it just redefines the word “asinine.” Marcia Gay Harden never makes a wrong move, but this movie is so futile, one goes away convinced that the moves she makes are hardly worth making.
  18. And there is Ewan McGregor, who makes entirely too many movies and only occasionally makes an effort to speak the kind of English anyone can understand.
  19. The film knocks itself unconscious trying to be whimsical and offbeat, but is so contrived that it is as embarrassing as it is unfunny.
  20. Burlesque is the celluloid equivalent to a Big Mac attack, and any resemblance to a plot is purely coincidental.
  21. Almost three hours long, a lugubrious sludge of mud soup called Cloud Atlas deserves a limp nod for pure guts, I suppose, but what I'd really like to do is burn it.
  22. She’s (Moore) the best thing in this toxic carnage of creepy, self-indulgent decadence, but under the direction of loopy Canadian David Cronenberg, she goes beyond the limit of acceptable artistry.
  23. Big Ass Spider, lazily directed by Mike Mendez and unwisely written without a trace of necessary camp by Gregory Gieras, aims for satire and settles for stale shtick. It ends with the song “La Cucaracha,” leaving the door open for more insects to come. Cockroaches, anyone?
  24. This awful rehash, badly directed by Vincenzo Natali (Splice), reeks of stale, recycled ideas.
  25. Awkward music cues and choppy camera work add baggage to a film so overwrought that its excesses seem more unintentionally silly than bleakly disturbing.

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