Observer's Scores

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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
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  1. A Complete Unknown
    A Complete Unknown never really parses anything new about Dylan or reveals his psychology, instead letting us continue to wonder about the man behind the dark lens. It’s a thrilling, entertaining journey as we do, with performances that never falter by actors who clearly did the work and then let it go once on set.
  2. Nickel Boys
    It’s a movie that is not only worth returning to again and again, but one you will be grateful to have walking alongside you for years to come.
  3. Kraven the Hunter
    Despite a lot of silliness, primarily thanks to Nivola’s absurdist performance as the Rhino, Kraven the Hunter is entertaining—far more so than expected based on Morbius and Madame Web. If only it wasn’t so convoluted or dragged down by extraneous characters. If only the CGI was better.
  4. The Order
    With a strong cast, tight script, and exemplary direction, The Order is first-rate filmmaking above and beyond the usual expectations of your standard thriller.
  5. Our Little Secret
    The screenplay, from Hailey DeDominicis, lacks the vibrancy you expect from a light-hearted holiday movie. Sure, there are a few genuine emotional moments and Lohan aptly gives Avery as much dimension as possible, but there’s only so much she and Chenoweth can do to liven things up.
  6. The Piano Lesson
    That sense of history grabbing you by the throat was still there—it’s all but impossible to drain that quality out of any iteration of the plays in Wilson’s towering Pittsburgh Cycle—but the grip on your windpipe was not nearly as tight as it should be.
  7. Gladiator II
    It’s equal parts compelling, ridiculous and uproariously pleasurable, often to the point where you can almost hear director Ridley Scott shouting, “Are you not entertained?”
  8. Heretic
    Shaving too fast with an old razor blade, I’ve had more scares than anything in Heretic from my bathroom mirror.
  9. Here
    Color it long, clumsy, gimmicky, schmaltzy and pointless.
  10. Juror #2
    If Juror #2 does turn out to be Clint Eastwood’s final film, he’s gone out with fireworks.
  11. A Real Pain
    Admittedly, A Real Pain is an acquired taste; like a top-flight IPA, it is at once overly aggressive and serenely balanced.
  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. Conclave
    While Berger’s film should be applauded for envisioning a way forward for the profoundly troubled and still deeply corrupt organization, by not more completely and honestly reckoning with the crimes of its past, its optimism for the future—while both deeply felt and dramatically conveyed—ultimately rings hollow.
  14. Goodrich
    There’s no way to avoid the resemblances of this film to one of Keaton’s biggest past successes, Mr. Mom, but it’s consistently more intelligent and original.
  15. Anora
    Like Mikey Madison’s title character, Anora is pretty, messy, witty, wild, and highly competent, one of the funniest, saddest, and best films of the year.
  16. Joy
    It’s not a flashy movie, and the vintage aesthetic sometimes feels unnecessarily dour, but it makes for good storytelling that embraces both our past and present concerns at once. And sometimes it’s the unassuming movies that manage to sneak up on you.
  17. Smile 2
    For fans of the first film, it’s more of the same, and for any casual horror viewers who are up for a funhouse thrill this October, it’ll do the trick.
  18. We Live in Time
    By crisscrossing time frames, Crowley, working from a script by playwright Nick Payne, halts his film’s momentum and lessens the overall impact of the central romance.
  19. Lonely Planet
    Katherine is searching for inspiration during her time in Morocco and, meanwhile, Dern should search for a better project.
  20. The Apprentice
    Although the film centers on Trump, a divisive man and genuine threat to American democracy, Sherman and Abbasi leave space for The Apprentice to embrace larger themes. It’s about the possibility of corruption and how easily money and power can entice us.
  21. Blitz
    It is both empathetic and brutal, but at the core is a hint of optimism. That despite our human instinct to create conflict, we could do better. In conveying this in such an original way, McQueen proves that there is always a new way to navigate a well-trodden path.
  22. Saturday Night
    The nostalgia is so thick in Saturday Night, Jason Reitman’s furiously busy paean to the nascent days of SNL, so unrelenting and potent, that eventually it unmoors from the film and begins swallowing its characters whole, like the titular alien in Steve McQueen’s The Blob.
  23. 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.
  24. Hold Your Breath
    All of this furious, empty noise keeps reminding you that you’re watching a cheesy horror film that is not confident enough in the story it’s telling to avoid succumbing to old tricks.
  25. 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.
  26. Lee
    Filmed in England, Hungary and Croatia, Lee is a vivid and unforgettable tribute to one of the bold women who devoted her life to the penetration of male dominance to change the way we see the world. Don’t even think about missing it.
  27. The Wild Robot
    Like the book, Chris Sanders’ onscreen adaptation is compassionate, funny and filled with unexpectedly poignant moments.
    • 68 Metascore
    • 63 Critic Score
    Omni Loop
    Omni Loop is good enough at telling a story sweetly, but it does falter in its 110-minute runtime. The sci-fi elements are left to the wayside at times, even when they seem ripe for making metaphors and deepening the story.
  29. Speak No Evil
    Remakes are odious, but Speak No Evil, while thoroughly unneeded and unasked for, is an Americanized remake of a 2022 thriller from Denmark that services its original material well, thanks mostly to a sprawling, contradictory and totally galvanizing centerpiece performance by James McAvoy.
  30. My Old Ass
    My Old Ass is a success because it’s so earnest, allowing these ideas to resonate with subtle humor, emotional heft and, most importantly, self-acceptance.
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