New York Observer's Scores

  • Movies
For 803 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 5.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 56
Highest review score: 100 The Judge
Lowest review score: 0 All the Boys Love Mandy Lane
Score distribution:
803 movie reviews
  1. What emerges is time pleasantly spent with a slice of life that examines a romantic détente between two cultures. Like smoke from an Egyptian hookah, the melancholia lingers.
  2. 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.
  3. The physical abuse and emotional anguish sometimes borders on overkill, but the final outcome is overwhelming.
  4. The latest calcified bore by Sofia Coppola is less pretentious than "Marie Antoinette" but every bit as inertly stupefying as "Lost in Translation."
  5. Every generation gets a new one, and this time, replete with computer graphics and singing mice, Kenneth Branagh has created a live-action fairy tale that pulls out every stop and spares no expense.
  6. I found the whole thing pokey and plodding, but there’s no denying the fact that even when sitting through Mr. Holmes seems numbing, Mr. McKellen is a force so powerful he’s his own reward.
  7. 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.
  8. It's uneven, but its optimistic message-lost causes can find strength through friendship and bonding-is contagious.
  9. It shouldn’t happen to a dog — or to an audience of dog lovers.
  10. Bring plenty of Kleenex. A nickel pack won’t do.
  11. A saucy, twinkling star performance by Michael Keaton make this one of the must-see entertainments of the year.
  12. This film is too long for a documentary, and only a true Sidney Lumet fan is likely to sit through nearly two hours of it undistracted. Still, it’s a fascinating exploration of how a great mind worked by allowing the quality of his scripts to determine the style of each film—including not only the inner life but the camera, the clothes, the entire visual approach.
  13. 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.
  14. 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.
  15. Carefully directed and gorgeous to look at, with haunting performances and maximum suspense.
  16. It’s anyone’s guess whether the amazing Mr. Redmayne’s most prestigious performance will go down in the archives as Stephen Hawking in "The Theory of Everything" or as the tortured, androgynous woman trapped in a man’s body in The Danish Girl. But it’s a sure thing that he’ll be nominated for another Oscar.
  17. 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.
  18. Mr. Redford doesn’t look like Dan Rather, but displays the same dedication to — and respect for — journalism that he brought to the role of Bob Woodward in "All the President’s Men."
  19. 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.
  20. 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.
    • 66 Metascore
    • 25 Critic Score
    The One I Love, Charlie McDowell’s debut feature, can’t decide what kind of film it wants to be. Atonal and aimless, it zigzags clumsily from mood to mood, without any clear direction.
  21. 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.
  22. 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.
  23. The effect is genuinely creepy, but do not even think of seeing Buried if you suffer from claustrophobia.
  24. The theme is nothing new, and the film has no shortage of clumsy biopic clichés, but sometimes we need to see the simplicity of humanity at its best. On that score, this movie delivers in spades.
  25. The heart of the film derives from the fact that the more they all get to know each other, the more they all mature and their differences blend. The title comes from a lesson in Huckleberry Finn—that a lie is good if it helps others, the way Huck lied to save Jim from the slave traders.
  26. 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.
  27. A sweet, honest, well-acted and carefully constructed little film that truly lives up to its title.
  28. It's when the music stops that we run into problems. For starters, there are so many questions left unanswered.

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