Observer's Scores

  • Movies
Select another publication »
For 1,801 reviews, this publication has graded:
  • 49% higher than the average critic
  • 1% same as the average critic
  • 50% lower than the average critic
On average, this publication grades 4.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Denial
Lowest review score: 0 From Paris with Love
Score distribution:
  1. Positive: 1,004 out of 1801
  2. Mixed: 382 out of 1801
  3. Negative: 415 out of 1801
1801 movie reviews
view
per page
  1. I Love Boosters
    Gosh, is it ever a letdown to have a filmmaker all but pop up on screen to remind us what his movie is not-so-secretly about, before failing to live up to not only his own political objectives, but some of the most basic visual tenets of narrative filmmaking. Down with the bourgeoisie? Absolutely. But must the revolution be so sloppy?
  2. Hedda
    Based on Henrik Ibsen’s classic stage play Hedda Gabler, Nia DaCosta’s Hedda seeks to reinterpret and modernize the late 19th-century material. However, in the process, it loosens the nuts and bolts of Ibsen’s dramaturgical machine, causing it to ricket until it falls apart.
  3. Eden
    Like Steven Spielberg, [Howard]'s films are usually polished, coherent, and suitable for all ages. His obsession with Eden delivers none of those things, and it’s so vile, pretentious and confusing in style over substance that a lot of it is downright unwatchable.
  4. The Electric State
    The Electric State is weighed down by a staggering tonnage of stuff, dozens of CGI robots wandering around and muttering off-camera jokes, clunky newsreels dumping details that end up contributing very little (but featuring MTV News anchor Kurt Loder as himself!), a total overload of boring, gray dreck.
  5. Cleaner
    Even the film’s title lacks a much-needed punch. Ridley is a strong action heroine, but she deserves better material than this.
  6. Captain America: Brave New World
    Not particularly good or bad, it is “another Marvel movie” — certainly not the cure to what’s been ailing the Marvel Cinematic Universe since Endgame.
  7. Presence
    It’s hard to label a film this empty, but the word “worthless” comes to mind instantly.
  8. Wolf Man
    Credulity is strained on every level in scene after repetitive scene. The shallow screenplay robs the actors of success whenever they strive for any kind of badly needed comic relief, which is probably why the acting seems so bland and unconvincing.
  9. Carry-On
    It’s occasionally diverting, sure, but so is killing time while you wait for your flight to board.
  10. Heretic
    Shaving too fast with an old razor blade, I’ve had more scares than anything in Heretic from my bathroom mirror.
  11. Here
    Color it long, clumsy, gimmicky, schmaltzy and pointless.
  12. Venom: The Last Dance
    True to form for this trilogy—which supposedly concludes here—the brainless and disjointed Last Dance skates by on star Tom Hardy’s charm and a few good gags.
  13. Lonely Planet
    Katherine is searching for inspiration during her time in Morocco and, meanwhile, Dern should search for a better project.
  14. Joker: Folie à Deux
    It falls flat as a musical, as a courtroom drama, as a romance, and as a character piece. It’s the rare film that is both weird and boring, to a degree that it’s hard to imagine anyone enjoying it.
  15. Never Let Go
    Never Let Go never manages to answer any of a number of recurring questions adequately, and the movie makes no more sense than one of those head-scratchers by M. Night Shyamalan, which it annoyingly resembles.
  16. The Front Room
    The Front Room, the new horror-comedy from filmmakers Max & Sam Eggers and A24, boasts a strong premise and a game cast, but it’s not particularly scary or funny. It’s surreal, clever, and occasionally visually quirky enough to fit the “indie horror” mold, but a little too unsubtle and user-friendly to feel like arthouse fare.
  17. AfrAId
    AfrAId, the new thriller from writer-director Chris Weitz, is a boiler-plate example of the exploAItation genre, a condemnation of A.I. so by the numbers that an A.I. could have written it. And, like the best examples of A.I. “art,” it’s solidly, emphatically, “good enough.”
  18. Across the River and Into the Trees
    It’s lifeless as a stump, and destined for box-office doom.
  19. The Union
    This contrived, pointless, blindingly boring vehicle is a pathetic, desperate attempt to keep Halle Berry and Mark Wahlberg’s careers alive.
  20. Jackpot!
    Despite the cast and the director’s best efforts, this is a movie that so desperately wants to be edgy that it somehow becomes completely dull.
  21. Trap
    Shyamalan knows what his thing is, he knows we know, and in a charming way, he doesn’t seem to care. His latest film, Trap, might leave some viewers rolling their eyes, but those acclimatized to his brand of weird will forgive the flaws the way they do their dad’s corny jokes.
  22. The Fabulous Four
    The latest example of the humiliations lovely seniors desperately seeking employment are forced to endure in order to call themselves working actors is a dismal comedy without a shred of wit, imagination or originality called The Fabulous Four.
  23. Deadpool & Wolverine
    Deadpool & Wolverine is every inch a post-peak Marvel movie, a parade of crowd pleasing pops with practically no substance, guaranteeing a billion dollar return and a shelf life of about five minutes.
  24. Longlegs
    What one does not expect is a load of total trash full of gimmicks instead of ideas, stolen scenes from other movies instead of originality, amateurish posturing instead of professional performances, clueless meandering instead of organized screenplays, and pointless confusion instead of clear-eyed direction.
  25. Beverly Hills Cop: Axel F
    Exhaustion of every sort pervades Beverly Hills Cop: Axel F. You see it in its dearth of ideas, as the film recycles structure, set pieces and even music cues from the original.
  26. A Family Affair
    The challenge here is that Kidman and Efron have no spark, which makes it awkward and uncomfortable to witness their coupling.
  27. The Watchers
    Like any good thriller, information is strategically withheld to build intrigue, but then it’s simply dropped in the audience’s lap with no impact at all. The characters are paper-thin, each reduced to essentially one trait that is explained by one underwhelming secret.
    • 43 Metascore
    • 25 Critic Score
    Back to Black
    More visualized Wikipedia article than movie, Back to Black covers a wide swath of Amy Winehouse’s life and career without any real depth.
  29. Poolman
    Not only is it the worst movie I have seen this year, this dog is one of the worst movies ever made.
  30. The Fall Guy
    The latest jacked up, action extravaganza from stunt man turned director David Leitch (his last film, the not-very-good Bullet Train, is still leagues ahead of this movie in terms of imagination and execution), teems with contempt for the audience it is desperate to win over.
prev
Page:

Top Trailers

See all »
See all trailers »