Observer's Scores

  • Movies
For 959 reviews, this publication has graded:
  • 48% higher than the average critic
  • 1% same as the average critic
  • 51% lower than the average critic
On average, this publication grades 6.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 57
Highest review score: 100 Mao's Last Dancer
Lowest review score: 0 Tiny Furniture
Score distribution:
959 movie reviews
  1. Everything is tenuous, including a performance by Keanu Reeves that borders on catatonia. Just because he stopped shaving doesn’t mean he can suddenly act.
  2. The film has beautiful cinematography and occasional peaks of high drama, but lacks the kind of significant tempo necessary to sustain enough interest for nearly two hours to keep a viewer focused.
  3. Powerful, devastating, depressing and deeply unsettling, the documentary Path of Blood by British filmmaker Jonathan Hacker gives new meaning to the word terror.
  4. This bold new film not only shatters comedy’s cold streak, but also serves as a powerful reminder of the vitality of the genre as both social commentary and shared experience.
  5. Strongly acted, beautifully shot and sincerely aimed at clearing up some of the misconceptions about the Old West that have been passed off as history by Hollywood movies.
  6. A first-rate cast enriches the otherwise dismal Boundaries, a misguided combination road movie and domestic comedy-drama that otherwise qualifies as a box office also-ran.
  7. The result is a juicy true story told blandly, but The Catcher Was a Spy is still a movie worth seeing.
  8. Jurassic World: Fallen Kingdom, the latest installment, has more dinosaurs, more screams, and more general chaos, but doesn’t make a single move to explore a fresh idea or add a new slant on a tired old formula. As brainless summer-escapism movies go, this one can’t go fast enough.
  9. The film is extraordinarily well directed by Alexandre Moors, realistically written, and uniformly well played by an excellent supporting cast that includes Jennifer Aniston, Toni Collette, Jason Patric, and Jack Huston. As “war is hell” movies go, this one is better than usual.
  10. Music video director Director X, making his feature debut, presents it all in a compelling and often intoxicating manner. There is something narcotic and languid about his pacing and camera work that feels purposeful and stylistic when the script is focused but comes off as stumbling and haphazard when the story looses momentum, which is often.
  11. This is the rare sequel that packs constant surprises while still delivering on expectations.
  12. These days actors not only appear in bad movies, they are forced to produce their own flops themselves. Toni Collette and Gabriel Byrne co-executive produced Hereditary. They deserve what they get, in spades.
  13. An all-star cast of #MeToo celebrants are now determined to prove how empowered women can make the same smart, entertaining heist movies as men.
  14. Moronic drivel that truly qualifies as the worst movie of the year, it sinks amateurish moviemaking aimed at audiences with no taste to an alarming new low.
  15. It’s not the predictable plot that holds interest, but the unusual smart-aleck script by British writer-director Bart Layton that blends elements of the true story with an almost journalistic approach.
  16. It’s a true story, basically a two-hander about a pair of courageous lovers lost at sea, as crushingly hard to imagine as it is to watch, but every element is so perfect that it left me shaking and devastated.
  17. So Breath is not without its pleasures, but it takes longer for the boys to grow up than it does to master Big Smokey. It needs a push, an edge, a reason to care about what happens next.
  18. The result is respectable, but dull and tedious. Only half a loaf is not a three-course meal.
  19. What saves the movie from tedium is a cast that is easy to watch, from understated veterans such as Belushi.
  20. You watch the movie like you read a book, which leads to eventual tedium. You can’t put a bookmark in a movie, come back later, and pick up where you left off.
  21. I admire Carrey for taking on a grim and sobering project made in Krakow, Poland, that requires a range he would never be asked to show in any American sitcom, but Dark Crimes is so lurid, irrelevant and unwatchable it makes you wonder if he ever read the script.
  22. It’s such a pleasure to see four mature women, more beautiful, glamorous, desirable and pulled together than most of the ladies today who are half their age, share the screen in all their glory that it’s easy to forget how disappointing the movie is.
  23. As docs go, it’s not as informatively or entertainingly good as it should have been and not as shamefully self-serving as it could have been, but as wistful as it made me feel about the New York I once loved that will never come again, it put a lump in my throat and tears in my eyes.
  24. Only masochists try to make movies out of Chekhov. They keep trying, and they never get it right.
  25. I cannot count the number of reservations I had about Anything, an idea with every possibility of being a cheap publicity gimmick aimed at selling the sensational and luring the lurid. What a shock, then, to discover that Anything is anything but.
  26. A turgid, pretentious, and incomprehensible existential joke. What a star on the rise is doing in it is a question mark for the archives.
  27. A well-directed thriller with knuckle-chewing suspense. A cast of unknowns give some first-rate performances, doing everything right to milk the throb of panic and anxiety from “what would I do?” situations. Terror builds from start to finish.
  28. No matter how you regard its limited commercial possibility for success, there is nothing funny about Tully. Having forewarned you, I must add that suffering through her never-ending agony is less daunting than it has to be when it is Theron who is doing it for you.
  29. There are so many ideas rattling around in Backstabbing for Beginners that are never resolved, and so many duplicitous characters that are never satisfactorily explained, that the end result is a muddle of confusion and violence that could end the future of tourism in Baghdad forever.
  30. The film, poorly edited and weakly unfocused by Turkish writer-director Deniz Gamze Ergüven, is a real mess.

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