New York Observer's Scores

  • Movies
For 585 reviews, this publication has graded:
  • 46% higher than the average critic
  • 1% same as the average critic
  • 53% lower than the average critic
On average, this publication grades 6 points lower than other critics. (0-100 point scale)
Average Movie review score: 56
Highest review score: 100 Still Alice
Lowest review score: 0 All the Boys Love Mandy Lane
Score distribution:
585 movie reviews
  1. I Am Love fuses the past with the changing future in a marvelous traditional narrative without a shred of the sloppy trends of contemporary filmmaking.
  2. This exercise in hysteria is so over the top that you don't know whether to scream or laugh. Despite an emotionally gripping performance by Natalie Portman, it's nothing more than a lavishly staged "Repulsion" in toe shoes.
  3. Although Enough Said never really surmounts its TV sitcom style and structure, the director provides a nuanced entertainment that is enjoyable. She is aided beyond measure by the charisma of her two stars — especially Mr. Gandolfini, who reveals a side of himself we’ve never seen before.
  4. Richly chronicled characters, sharp dialogue and that stupendous centerpiece performance by Cate Blanchett are contributing factors in the best summer movie of 2013 and one of the most memorable Woody Allen movies ever.
  5. At a time when every penny counts, where do they come up with the money to finance a movie this boring?
  6. I certainly wish Ms. Johansson hadn’t shown up at all. She’s never less than interesting to watch, but Under the Skin is a big waste of her time.
  7. Halfheartedly, I give The Dark Knight Rises - the third and final Batflick in the Nolan trilogy - one star for eardrum-busting sound effects and glaucoma-inducing computerized images in blinding Imax, but talk about stretching things.
    • 78 Metascore
    • 75 Critic Score
    There is much violence in The Devil’s Backbone , but there is also catharsis and redemption. As ghost movies go, The Devil’s Backbone is much less self-indulgent than the wildly overrated The Others.
  8. When it finally ended, I felt like I had traveled the distance in the next sleeping bag. It’s exhausting but exhilarating.
  9. Paddington is a harmless delight that blends live action with animated technology in the manner of "Ted," but without the raunch.
  10. Has moments of heart-pounding suspense and brief glimmers of greatness, thanks to fine performances by Ewan McGregor, Pierce Brosnan and Olivia Williams, but overall feels uneven, sprawling and strangely incomplete.
    • 77 Metascore
    • 63 Critic Score
    As a thriller, The Imposter is gripping. As a documentary, it provokes confusion and annoyance.
  11. Downbeat, depressing and heavy as lead, Calvary is nevertheless an unusual film that never bores. Impeccable performances by Chris O’Dowd, Aiden Gillen, M. Emmett Walsh and Kelly Reilly are riveting. And Mr. Gleeson is a bear-like centerpiece of conflicts and contradictions who anchors the floating pieces of the Irish puzzle in faith and doctrine, while mercifully refusing to sermonize.
  12. Resonating with warmth and sardonic wit and containing a majestic performance by Robert Duvall.
    • 76 Metascore
    • 75 Critic Score
    Blue Caprice, a disturbingly intimate look at the Beltway sniper attacks of 2002, isn’t a horror film, but it certainly feels like one.
  13. It’s profoundly moving and thoroughly mind provoking, but despite the poignant subject matter, I promise you will not leave Philomena depressed. I’ve seen it twice and felt exhilarated, informed, enriched, absorbed and optimistic both times.
  14. It’s a remarkable accomplishment.
  15. My biggest problem with Flight is not the unanswered questions it raises, but the eleventh-hour epiphany just in time for a happy ending. Maybe I'm naturally cynical, but I simply don't believe that people are basically good at heart - and I don't buy into sudden salvation. Otherwise, Flight is one hell of an entertainment.
  16. It’s to the star’s immense credit that his spellbinding appeal provides a tension that the script’s funereal pace often lacks.
  17. Creepy and serenely suspenseful, Martha Marcy May Marlene is a riveting study in what it's like to escape from a physically, psychologically abusive cult, and how hard it is to return to normal life after being brainwashed.
  18. Turns out to be more suspenseful and keenly plotted than most, with a compelling centerpiece performance by Dan Stevens (Downton Abbey) that deserves attention.
  19. As a movie, it's so tightly framed you gasp from claustrophobia. As a film of cryptic boredom, I cannot believe the actors were able to say their lines without cue cards.
  20. It’s one of the year’s most galvanizing cinematic experiences.
  21. A pointless, pathetic and profoundly boring send-up of universally acknowledged anti-social author Philip Roth, Listen Up Philip is a juvenile experiment in pretentious idiosyncrasy by amateurish writer-director Alex Ross Perry. He calls his miserable protagonist Philip Friedman, but who’s kidding who?
  22. I can't imagine what attracted these two megahunks to such a bore.
  23. This meticulously nuanced, sensitively acted film version of the Pulitzer Prize-winning play by David Lindsay-Abaire gives Nicole Kidman her best role in years, and she chews it like raw steak.
  24. It keeps you creeped out and fascinated.
  25. The movie knocks itself unconscious trying to be offbeat, but instead of cinematic heart, the director self-indulges in cinematic art, drowning the whole thing in freeze frames, slow-motion and color-coding, owing everything he knows to the worst of Jean-Luc Godard and Wes Anderson.
  26. Mr. Baumbach has a knack for capturing real-life dialogue--particularly and hilariously how people tend not to listen to the person on the other side of the conversation.
    • 75 Metascore
    • 75 Critic Score
    It’s "Sideways" meets "My Dinner With Andre" — a low-key, sensual affair punctuated by off-the-cuff moments of brilliant wit and wordplay — and the result is delectable.

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