Observer's Scores

  • Movies
For 991 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 Hacksaw Ridge
Lowest review score: 0 mother!
Score distribution:
991 movie reviews
  1. Carell delivers a performance both tender and tough.
  2. Half modern western, half thriller, an unspeakable waste of time called Bad Times at the El Royale is depraved, self-indulgent trash that is a narrative mess and, at nearly two-and-a-half hours in length, seems to go on forever.
  3. The distinguished British actress Claire Foy’s task of making the supportive but long-suffering wife is also a bit of a slog. Disciplined, focused and more in love with outer space than the human race, Neil Armstrong remains something of an enigma.
  4. Nothing about I Still See You attempts to succeed on any level of logic, including the script, peppered with pseudo comic book mumbo-jumbo.
  5. Fortunately, it is a nuanced, intense and utterly involving look at how racist policies shape judicial and economic outcomes for families like the Carters, and it doesn’t dumb things down one bit.
  6. Billed as a comedy, it’s never funny. Taken as a rural western drama about sibling rivalry, it does not take place in the West and the drama never involves. The game cast is chock full of talent, but nothing percolates.
  7. As a savage tale of how unparalleled success can feed the kind of toxic greed that orchestrates eventual downfall, Studio 54 is as unsettling as it is exhilarating.
  8. It’s a little long and leisurely. However, fueled by Rachel and Richard’s baby mania, it never drags.
  9. It is far from perfect, but the entertainment value is undeniable.
  10. The laughs are few and slow in coming, and you’re not five minutes into the film before you know why. Despite a lively performance by Mary Elizabeth Winstead, Nina is a big bore with a small talent and a one-track mind.
  11. An unwatchable sci-fi creep-out by eccentric French director Claire Denis, it stars Robert Pattinson, who devotes himself these days to art films in an effort to live down his reputation as a sexy television vampire.
  12. It is humane, beautifully shot in 65 mm and glorious black and white, full of keen observations, intimate details and nuanced performances. I was hypnotized and drawn in by the skill and heart of everyone involved.
  13. The magical chemistry between Redford and Spacek cannot be overestimated.
  14. The humans in the film are blandly generic. But the yetis, while individually distinct, all share a much larger, troubling problem: they don’t have noses.
  15. In most of his broadsides, the director is right. But like most of his incendiary docs, he fails to fully investigate both sides of the issues, overlooking or fudging the facts to cry “Hypocrisy!” whenever it suits him. That being said, I still applaud his courage and wit while he does it.
  16. Unrehearsed, spontaneous and off-the-cuff, they don’t hold back, their fearless charm is relaxed and effortless, and the relentless candor is enchanting. The result is 83 minutes of bliss spent with four Dames who know the difference between truth and illusion, and generously give a great deal of both. In Tea with the Dames, boredom is not an option.
  17. The best and most lavishly appointed, gorgeously photographed period movie in years.
  18. Mostly it’s a misguided mess.
  19. There is a cool detachment to the presentation of the story that, while perhaps fitting for a movie about a crime so carefully calculated it defies imagination, nonetheless serves to undercut the film’s high stakes.
  20. A single idea stretched out for nearly two hours, it’s an odd but strangely compelling film, but so ponderously paced that it doesn’t always convince.
  21. It leaves you feeling desperately in need of a hot bath to wash off the dirt that rubs off just from watching it. This mess is so bad that even the title is disgusting.
    • 48 Metascore
    • 25 Critic Score
    Seriously, nothing in this movie makes sense. Characters are introduced and then never appear again; the plot summation given near the end actually counters what we saw come before; the jarring editing doesn’t so much give you whiplash as it leaves you feeling like Jack Nicholson at the end of "One Flew Over the Cuckoos Nest."
  22. A tale of trauma and survival, Where Hands Touch is grim, compelling stuff, but the tireless humanism of the two leading characters makes it undeniably moving, aided by the careful and empathetic guidance of British writer-director Amma Asante (Belle, A United Kingdom).
  23. Along with Dickey’s equally feral and vulnerable performance, what stands out most in Blaze is just how fully formed and realized Hawke’s vision is as a filmmaker.
  24. Rich in atmosphere but bereft of new ideas about how to scare an audience, The Nun is like being stuck inside a club with cool decor where the DJ keeps playing the same song over and over again.
  25. Phil is the only puppet character that registers at all, which is one of the countless ways that the movies falls short of the legacy it is meant to expand and subvert.
  26. Soars above the ordinary with a timely narrative and a magnetic performance by Glenn Close that is nothing short of miraculous.
  27. Some characters are introduced and never fully explored. Others disappear without a trace, leaving the impression that key elements have been left on the cutting room floor. For Timothée Chalamet, one hopes for better luck next time.
  28. The intelligent script provides rare insight into character development and the meticulously layered performance by Macdonald give the film a credence and balance that touches the heart.
  29. The result is a film that won’t make a dent in cinema history but, with an ebullient gusto, it is impossible to resist.

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