New York Observer's Scores

  • Movies
For 514 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 6.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 12 Years a Slave
Lowest review score: 0 The Wait
Score distribution:
514 movie reviews
  1. The latest calcified bore by Sofia Coppola is less pretentious than "Marie Antoinette" but every bit as inertly stupefying as "Lost in Translation."
  2. The script is breezy, but neither of the two leads have the heft or charm to carry an entire feature-length film - separately or together.
    • 67 Metascore
    • 63 Critic Score
    Mr. Arestrup gives a full-bodied performance as the film’s most intriguing character, who blurs the line between senile irascibility and out and out malice.
  3. It's uneven, but its optimistic message-lost causes can find strength through friendship and bonding-is contagious.
  4. The result is a twitching convulsion of vicious drivel passing itself off as a movie, which can be best appreciated by the kind of people who dig "Showgirls," the "Saw" franchise and Spike Jonze-Charlie Kaufman flicks.
  5. It’s not perfect, but when it works, Byzantium towers above all of the romantic vampire slobber we’ve been getting lately. I fear that Dracula is watching from some moldy crypt somewhere, nodding approval.
  6. The actors are so exemplary that it is difficult to imagine this is not a documentary. They might not be household names, but they will be.
  7. He (Gordon-Levitt) can act, and there’s a possibility he can also direct, but there’s no evidence in Don Jon that he can do both at the same time.
  8. We know about Anne Frank's diary and Paul Verhoeven's masterpiece "Black Book," but director Martin Koolhoven has shed new light on what happened in Holland with a powerful and touching film.
  9. Neither another bland biopic about a self-destructive artist nor an historical scrapbook about a country in the grip of slavery, Black Butterflies is a dark, moving depiction of the life and death of a brave rebellious, idiosyncratic woman who made significant strides toward changing the world around her and paid a heavy toll for her passion.
  10. I think everything about the movie is too subtle and real to appeal to the "Batman" demographic, but for mature audiences who have forgotten how to smile, it takes up where "The Best Exotic Marigold Hotel' left off.
  11. The effect is genuinely creepy, but do not even think of seeing Buried if you suffer from claustrophobia.
  12. Best of all, I applaud the director's triumph of intimate terror over preposterous puppets and noisy computer-generated effects. In The Bay, the mayhem is both fresh and thrilling.
  13. It's when the music stops that we run into problems. For starters, there are so many questions left unanswered.
  14. What an extraordinary thrill to leave a movie exhilarated instead of drained, sated instead of empty, rejuvenated instead of depressed. It's a magical experience.
  15. Something is missing here, like a clear perspective.
  16. Salt is about as believable as a secret training program for military pilots consisting entirely of kangaroos in flight helmets. But it must be said that the star carries her load admirably.
  17. This is an oddball tale that is well worth telling, but Mr. Carrey simply cannot resist turning it into a Three Stooges routine in drag.
  18. Everything Must Go is the one for the Gipper-the movie in which he steps out of character for his own sake and works hard to lose Will Ferrell. The results are mixed, but I admire the guy for making an effort.
  19. The screenplay, by Kelly Marcel and Sue Smith, seamlessly captures two different eras with overlapping story lines that never intrude or confuse.
    • 65 Metascore
    • 100 Critic Score
    Made in Dagenham is a retro romp with heart, smarts, soul and wit that will restore your faith in the power of the picket line.
  20. A grim, toxic, psychological British thriller, brimming with surprises, that always manages to be quite a bit more than it appears on the surface.
  21. Contrived, pretentious and not worth seeing even for the perverse pleasure of watching first-rate talents make second-rate fools of themselves.
  22. A bleak and pointless exercise in pretentious existentialism.
  23. A flawless film of heartrending realism about the eternal chord that binds parents and children and the emptiness when they are separated.
  24. An hour and 20 minutes into this two-hour-and-11-minute endurance test, a hungry Kaiju attacks the city of Hong Kong and eats the neon signs of every Cantonese restaurant in Victoria Harbor. It’s sort of worth waiting around for.
  25. Despite occasional flaws, Disconnect is filled with fine performances, informed by an often sophisticated script and directed with passion.
  26. The movie often seems too good to be true, but by the end I wanted a dolphin just like Winter for my own swimming pool.
  27. The power in this movie is the way Chris Weitz trusts us to discover the facts for ourselves.
  28. The Innkeepers, a desultory indie-prod poorly written and lamely directed by Ti West, and filmed on the cheap at the actual location, is a poor-man's rip-off of Stanley Kubrick's hotel spookfest, "The Shining," promising paranormal horrors to all who dare to enter. Where is Jack Nicholson when we need him?

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