Baltimore Sun's Scores

  • Movies
  • TV
For 2,017 reviews, this publication has graded:
  • 55% higher than the average critic
  • 2% same as the average critic
  • 43% lower than the average critic
On average, this publication grades 0.6 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Little Miss Sunshine
Lowest review score: 0 Be Cool
Score distribution:
2017 movie reviews
  1. Collateral Damage isn't jingoistic; it also isn't exciting. It's a depressed rabble-rouser.
  2. What's more annoying than the screenplay's relentless assaultiveness is its odd, sordid cuteness.
  3. This chick flick never should have made it out of the incubator.
    • Baltimore Sun
  4. Bottom line: Juwanna Mann is a drag - in every sense of the word.
    • Baltimore Sun
  5. By the end, Pootie Tang feels as long as Kevin Costner's "Wyatt Earp."
  6. Too bad you can see this sort of thing done more amusingly every week on ABC-TV and Comedy Central.
  7. The whole narrative is too hollow and rickety as well as gimmicky for Muccino to breathe much life into it.
  8. Here's hoping your own dreams of Africa are more interesting -- and better acted -- than this movie.
    • Baltimore Sun
  9. The movie is a monument to egomania - and I don't mean Alexander's.
  10. The Dukes of Hazzard may mark some sort of nadir when it comes to movies made from TV shows. It's an overlong, under-thought and numbingly one-dimensional extrapolation of a TV show whose pleasures were, at best, marginal. See it at your own peril.
  11. Equilibrium doesn't tread softly on our dreams; it tramples them.
  12. Fanaro's script never really hones in on the concept's potential.
    • Baltimore Sun
  13. The Emperor's Club is a beautiful fraud -- as gracefully proportioned as a Christopher Wren academy, yet as devoid of content as a prep-school promo film.
    • 19 Metascore
    • 25 Critic Score
    Gummo is one of the most repellent cinematic efforts in recent memory. Whatever small audiences it attracts -- and they will be drawn mostly by the prospect of watching something "shocking" -- will wind up leaving the theater in a state of disgust. [21 Nov. 1997, p.5E]
    • Baltimore Sun
  14. If this version had been called The Poseidon Adventure, audiences could have sued for truth in packaging.
  15. Bride Wars has possibly the worst comedy idea since "Springtime for Hitler," with almost no room for redeeming camp.
  16. The best reason to see it is Kate Bosworth as Sandra Dee.
  17. The collateral damage of action products like Ballistic is to the sensibility of the audience.
    • Baltimore Sun
  18. This film isn't the most awful comedy of the year (that would be Bride Wars or New in Town), but it may have the grossest antihero.
    • 41 Metascore
    • 25 Critic Score
    "This Is Spinal Tap" was brilliantly funny. Death of a Dynasty? Well, the movie is just dead.
    • 25 Metascore
    • 25 Critic Score
    The One is all sound and fury, and nothing else.
    • Baltimore Sun
  19. A brain-dead buddy-movie tearjerker with semi-tasteful romance and tasteful gore mixed in with the derring-do.
    • Baltimore Sun
  20. Bomback's script is the worst thing a thriller can be - a flip-flopper, using quick character changes for plot twists. And Langenegger's direction rarely sustains a mood or tone, only a sleek veneer of luxury and knowingness.
  21. Kids will get antsy, wondering why their favorite characters disappear for long stretches of the film, while adults will wonder just when this scattershot approach to storytelling will congeal into something resembling coherence.
  22. Nothing in this film -- even Robin Williams, alas -- is funny.
  23. With its incomprehensible plot, flat visual style and indecipherably mixed messages (violence is good; no, wait, violence is bad!), this movie seems chiefly to be an excuse to sell even more trading cards.
  24. An awful film about an awful time.
  25. Taxi's only saving grace is an inexplicable, though delightful, turn by Ann-Margret as Andy's ever-tipsy mom. She's a stitch, and about 100 times better than her surrounding material.
    • 25 Metascore
    • 25 Critic Score
    The script is drippy, humor-free and old-fashioned:
    • Baltimore Sun
  26. Dramatically, it's a ghoul's parade of grieving folk finding solace and then danger through a tenuous connection to the after-life.
  27. This is a movie for genre fans only; there's not an aspect to it that should appeal to the rest of the world. It's neither original nor inventive, and while its young cast works hard, there's not even a standout performance worth recommending.
  28. A hackneyed psycho-sexual thriller with enough awkwardly executed Hitchcock references to qualify as a bad DePalma knock-off.
    • Baltimore Sun
  29. The film is so busy that every minute is exhausting. It's as if the filmmakers were idealistic teen-agers afflicted with a group case of Attention Deficit Disorder.
  30. Ghost Ship would have been so much better if they'd just let the ship do more of the acting.
    • Baltimore Sun
  31. Disney is creatively bankrupt and bereft of ingenuity -- especially in its live-action films. [25 Dec 1998, p.8F]
    • Baltimore Sun
  32. Most of the film simply wallows in gangsta hyperbole - it's all bling bling, bang bang.
  33. Solondz is still stuck in an adenoidal whine.
  34. Pleasantly meanders around a group of people who pitch projects and pitch woo on the Riviera.
    • Baltimore Sun
  35. The one actor I wanted more of was Williams, who imbues Jack's dad with a robust, sometimes domineering wiliness that suggests a real person. Of course, these silly, inept filmmakers probably cast him because he plays a good guy and his first name is Treat.
  36. Unlike other movies about unpleasant characters, "In the Company of Men," for example, Chuck & Buck doesn't have that sharp observational edge.
    • Baltimore Sun
  37. Isn't a full-bodied comedy, and it isn't a bona fide action movie, either. It just makes a facetious spectacle of itself.
  38. An odd little movie. And not in a good way.
    • Baltimore Sun
  39. This dialogue isn't helped by two actors who look terrific but can barely choke out a word that sounds remotely authentic or spontaneous.
    • Baltimore Sun
  40. Goes straight to hell, and in this case it is its own handbasket.
    • Baltimore Sun
  41. Stupid. Illogical. Simplistic. Pandering. And those are its good points.
    • Baltimore Sun
  42. Lowbrow humor is one thing...but Love Stinks sinks the bar beyond comprehension.
  43. The movie bobbles along on a weird, soft-edged sarcasm.
    • 14 Metascore
    • 25 Critic Score
    The plot is as thin and confusing as it sounds.
    • Baltimore Sun
  44. The vocal canines appear for about 30 humorous seconds, in a dream sequence, and are then never seen again. Unfortunately, the same can't be said about the rest of the film, which runs an additional 98.5 excruciating minutes.
  45. Just another tepid entry into this year's Death-as-Turn-On Sweepstakes.
  46. It's the strangest comic misfire yet from Wes Anderson.
    • 20 Metascore
    • 25 Critic Score
    There's a movie opening today that is so indistinctive I can barely remember its name.
  47. A mean-hearted, ham-handed and gratuitous effort to exploit it's teenage audience's conviction that, underneath it all, their teachers really. do hate them.
  48. The result is an out-of-control, lost-in-the-funhouse experience.
  49. It might sound intriguing to root the saying, "Physician, heal thyself," in the plight of a hypocritical self-help guru, but the romantic drama Love Happens suffers from acute irony deficiency.
  50. Doing a sequel to "The Mask" without Jim Carrey sounds like a really bad idea. As Son of the Mask proves, it is.
  51. Funny Games condescends to its audience like a pretentious, preachifying graduate student in post-modernism. It would help us out of the cultural quagmire we're drowning in, if only we could understand its highly convoluted and exclusive language. [29 May 1998, p.1E]
    • Baltimore Sun
  52. To call Death to Smoochy satire -- or parody, burlesque, or even lampoon -- would be too generous. The moviemakers merely glide on the thin ice of yesterday's cynicism.
    • Baltimore Sun
  53. Will have most audiences asking, "Can we leave now?"
  54. Timeline lacks potency, drive, wit and personality -- all the things that make escapism worthwhile.
  55. This kind of fiasco turns movie critics into so many Night Stalkers.
  56. A misfire in almost every direction.
  57. As a comic fable for hard times, New in Town is irredeemably moronic.
  58. A pastiche of sadistic horror-movie cliches with minor traces of wit but major overflows of perversity.
    • 22 Metascore
    • 25 Critic Score
    Why would anyone pay to see this movie?
  59. Watching this movie, with Diane Keaton cast as the ne plus ultra of irritating, overbearing mothers, is roughly the equivalent of listening to fingernails on a chalkboard for nearly two hours.
  60. Dr. Seuss' The Cat in the Hat is gorged with shtick and gadgetry. When it comes to highlighting everything better left in the dark, it makes even the Matrix sequels look like works of genius.
    • 19 Metascore
    • 25 Critic Score
    The only bits worth watching are the scenes where Olsen is in full Carrey mode and Richardson is doing his best Jeff Daniels. The spot-on impersonations take the mind off the plot, the poo-poo gags, the clunky chase scene and the ripped-off finale.
  61. The film saddles Craig T. Nelson with the generally thankless role of Paxton's cold, distant dad. But when he feels like the only person who doesn't understand what's going on with Tate and his son, you feel like saying, "No, me too."
  62. It's relentlessly dumb and relentlessly humorous, and those aren't the adverbs it was after.
  63. This movie doesn't play; it just lies there, waiting to be kicked around by anyone unfortunate enough to have shelled out good money to see it.
    • Baltimore Sun
  64. Finds it as impossible to locate a laugh in glittering Bora Bora as it was for Operation Enduring Freedom to nail Osama bin Laden in gritty Tora Bora.
  65. The film itself is an exercise in frustration.
  66. Armed with few laughs, this clumsy sequel makes a sloppy mess of its plot ... and star Sandra Bullock.
  67. Too bad the director ties everyone's laces together and they all go down in a jumble.
  68. The whole thing is too preciously conceived. [05 Feb 1993]
    • Baltimore Sun
  69. If John Witherspoon is among the funniest men in America, as many of his fellow comics say, why is he so painful to watch here?
  70. A tired piece of hackery, made only slightly less distasteful by a couple of inspired moments from supporting player Alan Cumming.
    • Baltimore Sun
  71. Fails to meld suspense and farce or to bring even the wildest pursuits and smash-ups any visual sense of comedy.
  72. How can we make the entire movie disappear?
    • Baltimore Sun
  73. Newsies is a live-action musical, but it's only barely alive. Call it "Snoozies." [10 Apr 1992]
    • Baltimore Sun
  74. A hopeless pastiche of timeworn plotlines, hackneyed dialogue and stultifying direction; to call it amateurish is a slap in the face to amateurs everywhere.
  75. The most amazing fact about Supercross is that it took three people to write it. Two chimpanzees with a typewriter could have done just as good a job.
  76. Must be among the most blatantly manipulative movies ever made. It's cold, calculated and treats its audience like its robotic central character.
    • Baltimore Sun
    • 49 Metascore
    • 25 Critic Score
    A gigantic mess.
  77. Adam Sandler does Frank Capra wrong. His unfunny remake stomps all over the honest values and endearing qualities of the original.
  78. Avary has taken a pig's ear of a book and turned it into a pig's ear of a movie.
    • Baltimore Sun
  79. Tedious almost beyond endurance.
  80. The filmmakers lack any visual sense of humor and any talent for sustaining long-form comedy; the stunts have less wallop than a TV bloopers show and the Oedipal family slapstick goes around in circles, in more ways than one.
  81. Director John Stockwell ("Blue Crush") and screenwriter Michael Ross have only two things in mind: titillation and giving young audiences something gross to whisper about in school the next day. On that limited basis, Turistas may well succeed. But that's nothing to brag about.
  82. Jane Fonda does an about-face on her persona and her talent, playing a teetotaler and, what's worse, a pious bore.
    • 37 Metascore
    • 16 Critic Score
    Has the feeling of something done many times before.
  83. A colossal dud.
    • 74 Metascore
    • 12 Critic Score
    Liam's deck is stacked. It's too bleak and filled with abrasive characters who don't deserve our sympathy to reveal much new about the human condition.
    • Baltimore Sun
  84. Just plain bad.
  85. Alone in the Dark will be the worst movie of 2005. The idea that anything could be worse is the only genuine scare the movie has to offer.
  86. Brand's script is a puzzle without a satisfying solution. Even at its supposedly heartfelt conclusion, it's more ironic than emotional, more of an art thing than a suspense movie.
    • 20 Metascore
    • 12 Critic Score
    Even with help from a pathetic Kid Rock and a boost from always-on Christopher Walken, Spade can't pull this off.
    • Baltimore Sun
  87. Glitter does no one any favors.
    • Baltimore Sun
  88. It's about as much fun for the viewer as being dropped into a virtual-reality version of a highway-safety crash film. Hall writes and directs with the finesse of a rusty hatchet.

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