Observer's Scores

  • Movies
For 1,235 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 7.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 57
Highest review score: 100 Coco Chanel & Igor Stravinsky
Lowest review score: 0 Black Christmas
Score distribution:
1235 movie reviews
    • 85 Metascore
    • 88 Critic Score
    The result is a brutal and haunting meditation on violence and power in the music industry — and whose careers have been derailed in the aftermath.
  1. The High Note is a wholly unexpected and utterly enchanting summer movie throwback.
  2. It would be easy to put the blame here on the two stars; expect a lot of misguided chatter about Nanjiani and Rae’s lack of chemistry. But if they deserve blame, it is in their capacity as co-executive producers who approved production on the anemic and half-baked script.
  3. Inheritance has not one iota of the thematic intensity of Bong’s film, nor any of the dynamic relationships that make Succession’s twists and turns impactful. Instead, there is nothing much on Inheritance’s mind, and the relationships end up as underdeveloped as the film’s cliché-ridden dialogue.
  4. The series’ trademark blend of character comedy and absurdist sight gags is in full display, served up with just the proper amount of postmodern self-awareness that adds to the fun rather than detracts from it.
  5. Overall, it is the performers that give the story life and allow Arkansas to rise above some of its shallower instincts, which include a garish costume design that seems to posit the idea that people from the South dress like rodeo clowns. Hemsworth in particular brings a truth and measured heartbreak to his portrayal of someone who has been forced to glimpse how the world works and deeply wished he hadn’t.
  6. Cole’s overarching theme of time drifting, folding inward and ultimately dooming the fathers, sons, mothers and daughters of All Day and a Night is hugely aided by the manner in which he frames these ideas visually.
  7. The movie shows that, true or not, in the right hands and with the right actors, this oft-told tale—like the Western genre itself—can course with the kind of venturesomeness that makes cinema so exciting no matter the circumstances under which we watch it.
  8. The often-stilted dialogue of the teenage protagonists doesn’t fare much better. As a result, many of the performances from the seemingly talented cast come off as stiff and stagey.
  9. A film about mental health issues needs a good script and a first-rate cast to sustain a viewer’s interest, and this one has neither.
  10. After an hour of this tedium, you stop worrying about where this disaster is going — or if it’s going anywhere at all. In the end credits, 28 producers are listed for an 85-minute film that doesn’t appear to have even had one.
  11. A lurid, tasteless crime procedural about a plague of serial slaughters by a pair of particularly demented maniacs roaming across Europe torturing and mutilating young newlyweds and leaving their victims nude and positioned to resemble famous works of art. It’s more gruesome than I dare to describe.
  12. The plot may be formulaic, but there’s nothing predictable about Ben Affleck’s commitment to the role of Jack, or the subtlety and sincerity with which he plays it.
  13. Hope Gap is pithy, engaging, and insightful — the kind of movie we desperately need more of.
  14. This moronic parable inspired by Donald Trump’s treatment and attitude towards illegal immigrants is a disgrace, but so is almost everything else on the screen these days.
  15. The Banker is a sadly facile and largely surface level rendering of a profoundly complex problem that deserves more attention.
  16. When Whannell’s movie is at its best, the audience is not just a witness to the terror; we are part of the machinery that inflicts it. Which is not to say that — when it works — this remake of James Whale’s 1933 classic is a success born of camera placement, special effects, or even conceptual daring.
  17. Despite its title, Onward is a regressive film, sometimes painfully so.
  18. The entire enterprise is so muffled and dull you can’t believe what you’re watching.
  19. For an alleged psychological thriller, The Night Clerk has no thrills, suspense or tension.
  20. Buck is lovable forever. If you think he’s perfection on four legs, he is. If you think he’s the most human dog since Lassie, Benji and Rin Tin Tin, he isn’t. Because Buck, you see, is computer-generated. Never mind. I guarantee you will love him anyway.
  21. Well-crafted, potently written and beautifully acted.
  22. All of it combines into not only a profoundly romantic experience, but also an exploration of a number of different kinds of love and connection.
  23. In Downhill, it disintegrates because both parties turn out to be such unsalvageable bores — a misfire, in a feature-length movie, that is worse than stale popcorn.
  24. Vulgar, contrived and incomprehensible.
  25. In what is something of a movie miracle or at the very least an unexpected surprise, this adaptation of the much-loved Sega video game franchise launched nearly 30 years ago as a direct assault on Nintendo’s leaping plumber Mario, largely presses the all the right buttons—and even does so in the right order.
  26. Despite the lofty and even admirable aspirations of this particular entrant to the ever-growing genre, what it has to offer bears little difference from all the rest: namely, a couple of really bad nights in a very bad house.
    • 60 Metascore
    • 75 Critic Score
    Artistic creativity and long-term plotting can co-exist side-by-side, but striking the right balance between them is a Herculean task....Regardless, even if Harley Quinn is no longer with the Clown Prince of Crime, she’s still poised to laugh all the way to the bank with Birds of Prey.
  27. Unlike many of the other films of its ilk, The Rhythm Section never feels the need to move beyond Stephanie’s sadness and sense of loss. This is really a tragedy thriller more than it is a revenge thriller.
  28. It’s rare to see a war film you can truthfully label poignant, but The Last Full Measure combines the heart-pounding excitement of "1917" with the urgent, deeply moving emotional honesty of "Saving Private Ryan" to tell a heroic but somehow overlooked story of courage under fire that now emerges as one of the most valuable chapters to emerge from the debacle of Vietnam.

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