New York Observer's Scores

  • Movies
For 567 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 5.9 points lower than other critics. (0-100 point scale)
Average Movie review score: 56
Highest review score: 100 The Company You Keep
Lowest review score: 0 Charlie Countryman
Score distribution:
567 movie reviews
    • 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.
    • 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.
    • 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.
  1. 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.
    • 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.
  2. 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.
    • 53 Metascore
    • 25 Critic Score
    It might be time for Johnny Depp and Tim Burton to start thinking about seeing other people. Alice in Wonderland, their seventh film together, is so thoroughly soul-deadening and laborious that the prospect of an eighth collaboration feels like the sword of Damocles.
  3. It’s a romantic piffle stuffed with so much candy that your skin could break out.
  4. A vulgar, happy-as-cancer aberration that takes the dysfunctional family idea to a new low. Whimsical, yes. Happy, never.
  5. There is no hope on the horizon for movies as leaden as The Exploding Girl.
  6. A ludicrously pretentious train wreck masquerading as a movie.
  7. 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.
  8. Staying awake during this ordeal of incompetent, incomprehensible stupidity is not difficult. It’s so noisy that you can hear it in the next town. Staying interested is something else entirely.
  9. Instead of the feel-good comedy they intended, you are left with the suspicion that the movie is really about a man suffering from an undiagnosed mental illness for which there is no cure.
  10. At a time when every penny counts, where do they come up with the money to finance a movie this boring?
  11. As the film builds to a feverish hysteria, you have to work hard to keep from laughing.
  12. 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.
  13. 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.
  14. I'd like to tell you just how bad Inception really is, but since it is barely even remotely lucid, no sane description is possible.
  15. Even Helen Mirren on a bad day is better than nine out of ten American film queens polluting movie screens on any given Sunday, but really, this is one time she should have stayed in bed.
  16. Valhalla Rising is nothing more than an updated version of the kind of time-honored Hollywood Viking movie Kirk Douglas used to do in his sleep, which means lots of inhuman, bone-crunching violence and no plot.
  17. The film knocks itself unconscious trying to be whimsical and offbeat, but is so contrived that it is as embarrassing as it is unfunny.
  18. Instead of originality, The Romantics recycles the same material with a lot of noise masquerading as style, and no substance whatsoever, producing a grotesquerie of caricatures from central casting that are dead on arrival.
  19. Burlesque is the celluloid equivalent to a Big Mac attack, and any resemblance to a plot is purely coincidental.
  20. The original western won John Wayne a puzzling and undeserved Oscar for finally falling off his horse. Don't expect the same miracle for Jeff Bridges. In the numbing hands of pretentious filmmakers Joel and Ethan Coen, history does not repeat itself in any way whatsoever.
    • 38 Metascore
    • 25 Critic Score
    The bottom line is, whether you worship God, Satan, Xenu or Ron Paul, The Rite gets it wrong.
  21. Unknown makes no sense at all, so you not only worry about Liam Neeson's judgment in movies, but you begin to wonder if he's forgotten how to read.
  22. Who goes to the movies for 104 minutes of punishment? Where is John Wayne, now that we need him?
  23. Contrived, pretentious and not worth seeing even for the perverse pleasure of watching first-rate talents make second-rate fools of themselves.
  24. Only the great Piper Laurie delivers dollar value. Otherwise, Hesher is to movies what graffiti is to a rotting fence.

Top Trailers