New York Observer's Scores

  • Movies
For 690 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 What Maisie Knew
Lowest review score: 0 The Lovers
Score distribution:
690 movie reviews
  1. A little of this corn goes a long way.
  2. Movies like Sleeping Beauty are as sensual as cottage cheese, not to mention passé.
  3. Only the great Piper Laurie delivers dollar value. Otherwise, Hesher is to movies what graffiti is to a rotting fence.
  4. Rage is another formulaic re-tread that needs its brakes re-lined.
  5. Ms. Cardellini plays it like a zombie, and she isn't helped by all the loitering camera angles and repetitive close-ups of her head framed against car windows. It's a worthy subject, ploddingly explored in a film that is too modest for its own good.
  6. 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.
  7. It’s a romantic piffle stuffed with so much candy that your skin could break out.
  8. Even as a prime example of rotten summer silliness, this is a paralyzing experience.
  9. The movie doesn’t know if it wants to be a comedy, a morality play or a cautionary tale about being careful what you wish for. I wish for fewer disasters in my future like A Long Way Down.
  10. Despite the sight of so much cheesecake romping naked through the woods like the girls have never heard of poison ivy, it’s the usual disreputable grindhouse schlock.
  11. 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.
  12. A vulgar, happy-as-cancer aberration that takes the dysfunctional family idea to a new low. Whimsical, yes. Happy, never.
  13. The film has a restless, nomadic quality similar to Kerouac’s lifestyle, but there’s no there there.
  14. A nasty piece of work that's been hanging around for two years looking for an audience.
  15. This one is no scarier than running out of ink in the middle of a midterm exam.
  16. This movie is so staggeringly violent and stomach-souring disgusting that when it screens, it is occasionally greeted with boos and almost always accompanied by massive audience walkouts. Don't say I didn't warn you.
  17. The actors are all completely wasted in this dumb travesty of fumbling, unfocused, oversexed numbskulls who work in the movie business. Everyone connected with Nobody Walks should have done just that-early and quickly.
  18. As a nauseating variation on the home-invasion theme, The Purge is as sickening as it is dreary.
  19. Haywire makes no sense whatsoever, which should come as no surprise. It's the latest brainless exercise in self-indulgence from Steven Soderbergh, whose films rarely make any sense anyway.
  20. Well photographed, lurid enough to cause concern for the teen market it aims to captivate, and with enough blood to refurbish an abattoir, Kiss of the Damned creates an eerie, foreboding anxiety that comes uneasily close to terror. Too bad they seem to be making it up as they go along.
  21. A quirky re-boot of the old Burt Reynolds hashtag "Heat," this modest character vehicle for the lifeless, balding and incomprehensibly inarticulate Jason Statham is so bleak and moody it won’t be much of a lure to action fans.
  22. This is bargain-basement moviemaking, and looks it. Here's wishing Mr. Pierce a vigorous movie career, and better luck next time.
  23. Rarely has Mr. Gere walked through any movie with so little energy and so much indifference. I've seen more fervor on the face of a man parking a car.
  24. B-movie director Rob Cohen (The Fast and the Furious) hasn’t got a clue what to do with so much preposterous pulp fiction, so he wafts between sexy potboiler and psychological thriller with an uneasy lack of grace that brings out the worst in everybody.
  25. 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.
    • 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.
  26. This is an unfortunate next step for Mr. Cooper, while Ms. Lawrence, who co-starred with him memorably in "Silver Linings Playbook" and "American Hustle," finds the third time far from a charm, more like a curse.
  27. The only reason to suffer through a grim wack job called McCanick is to see the late Cory Monteith in his last film role.
  28. An unrecognizable Michael Keaton seems to have aged 40 years since the last time he appeared on the screen, but he’s still the best (i.e., only) reason to suffer through a miserable load of deranged, deluded crap masquerading as a black comedy called Birdman.
    • 38 Metascore
    • 25 Critic Score
    The bottom line is, whether you worship God, Satan, Xenu or Ron Paul, The Rite gets it wrong.

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