Dallas Observer's Scores

  • Movies
For 1,518 reviews, this publication has graded:
  • 47% higher than the average critic
  • 3% same as the average critic
  • 50% lower than the average critic
On average, this publication grades 4.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 58
Highest review score: 100 L.A. Confidential
Lowest review score: 0 Superbabies: Baby Geniuses 2
Score distribution:
1518 movie reviews
  1. That this mess should come from the hand of Istvan Szabo, the brilliant Hungarian director of "Mephisto" and "Colonel Redl," is the real shocker.
  2. Unhampered by imagination and driven solely by libido.
  3. Taken as a whole, the movie seems to be searching for a harmony it never really achieves.
  4. Duff isn't exactly known for complex fare, but even "The Lizzie McGuire Movie" was way better than this.
  5. The film's finale is truly egregious, a laugh-out-loud combination of ludicrousness and sadism that someone somewhere probably found scary, assuming they never saw a thriller before.
  6. A waste of a decent premise.
  7. Plays like something Dr. Phil and "Sex and the City's" Carrie Bradshaw might have written during a commercial break, a feel-good fantasy that sounds deep but has no more depth than a kiddie pool drained for winter.
  8. Stripped of every major scary moment and restructured in what feels like a deliberate attempt to remove all suspense, this "horror" movie is now a domestic soap opera.
  9. Adequately breezy and sleazy -- a movie about the horniest man in the universe looking for a little one-night stand.
  10. Standard revenge shenanigans ensue, with more boo-hoo numbers from Vin, who ain't up to it -- he hasn't been this lame since, uh, ever.
  11. A problem with Park's naturalistic worldview is that it's hard to find anyone to root for. The movie is beautiful to look at, but hideous in its narrative.
  12. It's a mess, but it isn't as bad as you think.
  13. It's time to run, screaming.
  14. Highly commercialized teenybopper fluff, likely to please the tweenie girls but sorely lacking in anything original or even interesting.
  15. Exactly as you may expect, this thing is good for a few cheap little laughs and no more.
  16. Part female revenge flick, part Saturday Night Live skit, part courtroom drama, and part religious tent revival, this movie never congeals into anything worth watching.
  17. Slips by quickly enough, but it never engages our interest more than passingly.
  18. The Dying Gaul becomes so overwrought in the last act that it ends up as pure histrionics.
  19. What keeps Love in the Time of Money from being truly awful is the fact that the actors give it their all -- they may be in contrived situations, but by golly they'll make the best of them.
  20. Its execution is stultifying, laughable and ultimately a little offensive.
  21. While the idea may be good, its execution is awful.
  22. Lackadaisical feel of the film; Freundlich is unable to generate much suspense.
  23. Nothing happens. At all. Ever. Remember when Steve Martin was funny? Apparently, neither does he.
  24. It's easily the ugliest film Gilliam's ever made, a movie shot with a lens someone forgot to wipe. It's also his loudest: Every scene is amped up to 11, and every line of dialogue is delivered as though it's a cry for help from the bottom of the well.
  25. The movie, which feels as amateurish as a student film made for cable access, doesn't deliver the goods; the gotcha moment never comes.
  26. Dude, where's the script? Just Awful.
    • 41 Metascore
    • 30 Critic Score
    If any further indication were needed of the fact that gay has gone mainstream, this flaccid farce provides definitive proof, for it's as forced and unfunny as subpar Sandra Dee.
  27. Lured to the project with John Cusack as her original co-star (cruelly replaced by Matthew Broderick), Nicole Kidman phones it in.
  28. There's way too much schmaltz in the mix. Even the musical score bombs: Throbbing, eerie techno simply does not suit a character trapped in the 1940s.
  29. Succeeds in scaring you and boring you at the same time; unlike Moore's movie, it's agitprop bereft of artistry, porn for Republicans.

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