Baltimore Sun's Scores

  • Movies
  • TV
For 1,998 reviews, this publication has graded:
  • 55% higher than the average critic
  • 3% same as the average critic
  • 42% lower than the average critic
On average, this publication grades 1.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 The Sea Inside
Lowest review score: 0 Good Luck Chuck
Score distribution:
1,998 movie reviews
  1. De Niro and Stiller combine to bring on laughs you don't have to feel guilty about.
  2. Well-paced, scathingly funny satire of the fashion industry and its eminently lampoonable pomposity.
    • Baltimore Sun
  3. Taymor conjures images that are as indelible as they are wordlessly articulate.
  4. This is Mitchell's show, and his performance lives up to his triple billing as writer, director and star.
    • Baltimore Sun
  5. Viewers impressed by the fairly standard martial-arts action of "Crouching Tiger" will really be wowed after seeing this film.
    • Baltimore Sun
  6. What a relief to see a movie in which an audience responds with peals of laughter to subtle facial shifts as well as punch lines.
  7. The movie is, to borrow Rob's phrase, unassailably cool.
    • Baltimore Sun
  8. Greengrass and his tremendously smart and emotionally agile lead actor, James Nesbitt, paint their portrait of a good politician without illusion or sentimentality.
  9. A dizzying - sometimes frustrating - marvel of moviemaking instinct and ingenuity.
  10. The conventional and the cliche are slam-dunked in favor of a fresh, authentic take on passion, ambition and coming of age.
  11. Hard to take in its particulars.
  12. As the sequence builds, it accretes so many heroic and nightmarish associations it plays like a prelude to apocalypse, which of course will come in Episode III. Attack of the Clones is part soda pop, part witches' brew - and all visual ambrosia.
  13. The only thing missing from this rich production is an emotional charge, which Highsmith could create on the page but which Minghella doesn't quite capture on screen.
  14. Captures the feel of a first-rate comic book. It puts the pop back into Pop Art: It blows viewers away with a blast of kinetic energy.
  15. It's every bit as thrilling and engrossing as the best spy thriller or cop flick.
  16. An unconventional and engrossing French thriller.
  17. An unrelentingly dark vision that's as hard to watch as it is impossible to walk away from.
  18. There's a dignity to Mondays in the Sun that manages to keep the film buoyant, helping to keep all the despair at bay.
  19. Screwball farce, romance, domestic tragicomedy and literary frolic rolled into one.
  20. Unsparing and uplifting - a wickedly difficult combination to pull off, but one that gives the film an emotional weight that's impossible to dismiss.
  21. Hannibal isn't art. But for filmgoers with a taste for the absurd and a tolerance for the blackest of black humor, it's one heck of a thrill ride.
    • Baltimore Sun
  22. One of the year's most unsettling -- and perhaps most illuminating -- films.
    • Baltimore Sun
  23. A computer-animated burlesque fairy tale that generates more belly laughs than any live-action comedy since "Best in Show."
    • Baltimore Sun
    • 54 Metascore
    • 88 Critic Score
    The whole plot is a shambles. And yet none of this matters much when you're laughing as hard as this film makes you laugh.
  24. It's a documentary about acknowledging genius, about just desserts, about artistic muses that refuse to give up. It's about great camaraderie and great music.
  25. Dense, ironic and thoroughly engrossing caper melodrama.
  26. A snarling satire of Hollywood single-mindedness and its lack of any moral underpinning.
    • Baltimore Sun
  27. It's a zombie flick that moves -- no stumbling, staggering living dead here -- in an atmosphere that feels like a Gothic docudrama, and it's freaky beyond all reason.
  28. A joyful celebration of spirit and endurance.
  29. L’Auberge Espagnole (The Spanish Hotel) is unexpectedly entertaining because it captures the point in young adulthood when life is unseriously serious, or maybe seriously unserious.
  30. There are no surprise twists, no characters who rise above themselves, no cheap happy endings. There are just people struggling with emotions and situations they think are beyond their control.
  31. Has nearly perfect pitch.
  32. Offers plenty of honest, good-natured laughs in the process. That's something young and old can appreciate equally.
  33. A first-rate sail into Adventureland.
  34. Entertaining, thrilling and honestly sentimental, it's an equal-opportunity crowd-pleaser.
  35. Without proclaiming itself a wake-up call for the West, In This World cries out for some new method of achieving international trust.
  36. The Station Agent has craft and pace and that far rarer quality, fellow-feeling.
  37. Alien, even with some scene tinkering that has left this "director's cut" one minute shorter than its original release, is still one of the creepiest, scariest, most shocking films ever.
  38. Replete with so many wisecracks, puns, double entendres and visual jokes that you almost need a flow chart to keep up with them all. But try; the effort is definitely worthwhile, and the results are hilarious.
  39. Gloriously funky in the good old meaning of the term. Its vulgarity may be offensive, but it's also pungent and real, and it fuels some ferocious humor.
  40. Monsieur Ibrahim is about people interacting as people, not symbols (one reason, Sharif has said, he took the role was to help his grandchildren's generation understand that idea).
  41. This picture boasts a story about a yarn-spinning Southern father (Albert Finney) and a sober-sided son (Billy Crudup) that gives it ballast and staying power beyond anything in previous, precious Burton fables like "Edward Scissorhands" or "Ed Wood."
  42. Director and dancers catch the audience up in a web of imagination.
  43. Spring, Summer values life, beauty and even human fallibility, ascribing to humanity a nobility we neglect at our own peril.
  44. The Saddest Music In the World may not be for all tastes, but maybe it should be.
  45. A Slipping-Down Life may be low-key, but if you enter its unique atmosphere, you will leave exhilarated.
  46. It's a top-notch action film, albeit on the bloody side, complete with decisive action, mysterious characters and a nobility and sense of purpose that allows its excesses to be forgiven.
  47. Remarkable documentary.
  48. A near-great British neo-noir, harsh yet hypnotic. Its psychological vortex can suck you in and leave you reeling.
  49. To discover why movie fans are screaming for more Will Ferrell, and to savor the work of improv wizards like Carell, go see Anchorman.
  50. The risks these guys take seem outlandish, their accomplishments otherworldly.
  51. The true heartbreak of Maria Full of Grace is that it never comes.
  52. Greengrass has a fine sense of pacing, keeping events moving. It's rarely hard to guess what's going to happen next, but events unfold with such gusto that there's barely time to notice that.
  53. Garden State is filled with characters you long to know more about, in situations to which almost anyone can relate. And that's as near a can't-miss movie formula as one can get.
  54. The result is a highly critical and impossible-to-dismiss examination of the administration's rush to war that is sure to move both sides of the political spectrum to apoplexy.
  55. Gloriously retro, unashamedly celebratory of the joy of moviemaking and the love of old-fashioned heroism.
  56. A Dirty Shame is certainly dirty, and maybe it's even a shame. But this is the John Waters we've come to know and cherish, and that alone is cause to celebrate.
  57. Lightning in a Bottle has breadth, both in its multitude of perspectives and its spectrum of performances.
  58. Like the coolest train set a kid ever had. It's not real and the faces on the toy people don't look human, but it has bells and whistles galore and will take you as far as your imagination allows.
  59. The glory of the movie is Depp, who achieves his own immortality.
  60. Guerrilla provides one huge compensation: the getting of historical wisdom.
  61. (Penn)'s is a lovely, soulful performance in a movie that manages to imbue tragedy with just the right grace note of insouciance -- a movie worthy of Woody Allen himself.
  62. The love that heals and the love that kills are one and the same in the exhilarating Head-On, Fatih Akin's overgrown dead-end-kid romance for live-wire adults.
  63. Kore-eda expresses the terror of the kids' predicament with a touch that's equally tender and dispassionate.
  64. Original, unfailingly entertaining marital-breakup movie.
  65. The movie's sweetness, wit and charm go beyond its can't-we-all-just-get-along premise.
  66. A stinging elegy for lost American dreams.
  67. Baseball, Boston and Drew Barrymore. Certainly sounds like a winning combination.
  68. An insightful, clear-headed look at relations within a Chinese-American family.
  69. Disturbing, maddening, often confusing, but also charming, engaging and challenging in all the best ways.
  70. Sure, this movie is proudly profane, but it's also funny.
  71. There's an element of the nature film to Grizzly Man, and those passages are truly stunning, offering an up-close look at these magnificent animals.
  72. Probably the most sweet-spirited sex comedy ever made. It's pretty funny, too.
  73. Will be hailed for its macabre imagination and inventive farce. But it also elegantly renders an archetypal teenage tale.
  74. For at least two-thirds of its length, all elements combine for a taut thriller, a Hitchcockian exercise in suspense pitting human frailty - can our minds be trusted? - against human resourcefulness.
  75. It flows like fast-moving lava to a climax filled with pyrotechnics. And for once in a summer blockbuster, the fireworks are both emotional and physical. The movie leaves you sated, yet wanting more -- just what you want from a series with two entries left to go.
  76. The results are often as surprising as they are funny.
  77. The astonishingly versatile Kinnear proves note-perfect as a huckster who slowly rids himself of slime.
  78. Bolt proves a refreshing throwback to the animated classics of yore.
  79. It overflows with a combustible blend of street sensitivity and testosterone.
  80. Goes down like a single-malt aged for 25 years.
  81. Ron Howard has made his best movie with Frost/Nixon, an electric political drama with a skin-prickling immediacy.
  82. Soars on the strength of strong acting and a script that stubbornly refuses to go all sappy and preachy.
  83. It's a frustrating film in that its characters resolutely defy convention, and its story offers no epiphany, no one moment when everything becomes clear.
  84. This film teaches the rewards of patience for directors, for actors and for audiences, too. The compelling reality of Juliette's plight comes from how subtly and gradually she emerges from her carapace.
  85. Most contemporary horror films derive shocks from mere torture. Let the Right One In locates most of its fright-power in the needs and confusions of people who are usually overlooked.
  86. The outcomes of all the mini-dramedies are too messy and equivocal to produce morals; that's just as it should be in a farce about confusion. Co-directors Eric Darnell and Tom McGrath are most intent on completing the circle of comedy.
  87. Four Christmases works because of some genuinely funny setups, a pace that never dwells on one gag (or even one family) too long and a careful mix of slapstick and bawdy humor. But mostly, the film works because of the astonishing acting talent the filmmakers brought together to make it.
  88. It's not a great movie, but it is an enlivening and unusual one: an effervescent political film that also packs a knockout punch.
  89. The combination of 3-D photography and puppet-animation - centered on actual figures designed by hand and manipulated frame by frame - creates a world that's dense, active and fluid: a sensory Jacuzzi.
  90. The movie is supremely nonjudgmental and balanced.
  91. It's intelligent and emotional, not studied or sappy.
  92. A bittersweet joy. Its humor and romance are refreshing because the writer-director, Greg Mottola, realizes that maturity is a two-steps-forward, one-step-backward process.
  93. Sugar is a near-great movie with qualities more unusual than some all-time classics. It resists cliche at every turn and puts something solid in its place: raw yet controlled observation that gives the film the form of a flexing muscle.
  94. Whereas the TV series rarely flinched when it came to showing the animal world as it is, Earth always pulls back at the last second. It shows a cheetah pulling down a gazelle, but not the feast that follows.
  95. Without ever telling viewers what to think or how to feel, it raises more questions about the corruption of crime and crime fighting than any expose or thesis.
  96. A delirious surprise .
  97. Humpday mixes hilarity with upset as the irresistible force of male pride meets the immovable object of sexual identity.
  98. Paul Giamatti - that huddle of broiling instincts, out-of-control impulses and aggravated ardor epitomized in "Sideways" - you feel his soul's absence as dearly as its presence.
  99. The result is an exciting, infuriating, combative experience.

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