Baltimore Sun's Scores

  • Movies
  • TV
For 2,029 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 0.1 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Beauty and the Beast
Lowest review score: 0 CJ7
Score distribution:
2029 movie reviews
  1. Nightwatch is passable stuff for undiscriminating fans of the ickier-the-better genre; for the rest of us, it offers nothing new. [17 Apr 1998]
    • Baltimore Sun
  2. Up against the wit and teamwork of the sparkling TV original, this lame vehicle sputters and fades.
  3. Lane gives the film her best shot; she's pretty much the only reason to see it. There's an intelligence mixed with ferocity that makes her performance compelling, far-more-so than anything else in the film.
  4. Short on details and long on extreme, unflattering close-ups.
  5. As with so many recent literary adaptations, it was the writing that was the art, not its infrastructure of plot and character.
    • Baltimore Sun
  6. Save for Jesus' skin color, which he shares with some of his fellow Jews, little about the story is re-imagined or re-evaluated.
  7. All Fey does is apply a smattering of wit to the story.
  8. Weitz's idea of satire is generally both ludicrous and mild: exaggerating types, then sentimentalizing them.
  9. Children should enjoy Jungle Book 2 just fine. Adults will wonder why anyone bothered.
  10. Luckily, Penn, Watts and Leo carry more weight than that; they keep this movie's two hours and five minutes from seeming like lost time.
  11. Spider as a character is a fantasizing detective, but the movie is no Singing Detective (the high-water mark of the sub-genre). This film rarely rises above a murmur.
  12. You should have been able to treat this film as a grab-bag and pull out some plums. Instead it goes grabbing after you.
  13. Chicken Little is relentlessly cute. That's the good news, and those who consider the word cute anathema may want to look for entertainment elsewhere.
  14. Like "Mr. and Mrs. Smith," The Island is the kind of suicidal high-concept movie increasingly prevalent these days: a film so thoroughly pre-conceived and pre-sold that most audiences know more about what's going on than the characters do for half the movie.
  15. Zeffirelli has managed to make Shakespeare's greatest and most modern play one-dimensional. [13 Jan 1991]
    • Baltimore Sun
  16. Che
    The title and length suggest a biographical epic, but it's neither biographical nor epic. It's as if the director, Steven Soderbergh, wanted to take tissue samples of Ernesto Che Guevara's political life.
    • 35 Metascore
    • 50 Critic Score
    Essentially an episode of "24." Which may be a step up from a video game, but it's getting hard to tell.
  17. If only all this wonderful talent wasn't in service to a story that pushes credulity beyond the breaking point, perilously close to the realm of farce. Too many coincidences, too much convenient timing, too little honest plot development.
  18. Ready to Wear, though it boasts a few small delights, is unready to see.
  19. This military courtroom drama is full of questions, but woefully short of answers.
  20. Put simply, Mona Lisa Smile is too much of a stacked deck -- a movie too concerned with ensuring that audiences feel a certain way to risk anything like nuance or interpretation.
  21. The movie doesn't complete itself, in the sense of filling in our knowledge of its people (who are more like passengers). It simply comes to a stop.
  22. All that artistry is surrounded by a hackish, paint-by-numbers storyline that makes the time between dance numbers seem endless.
    • Baltimore Sun
  23. With Almodovar, things tend to happen fast, and "Kika" is all speed and no depth.
  24. G
    Unable to embrace the world he's seeking to depict, Cherot is left with a lifeless shell, a movie so preoccupied with being noble that it forgets to be interesting. The problem with G is not that it's unbelievable, it's just boring.
  25. The kind of joyless, over-calculated hit that may leave viewers feeling not haunted but headachy.
  26. To their credit, director Nick Cassavetes and screenwriter Jeremy Leven heighten the melodrama and seize on the most distinctive strokes of Nicholas Sparks' bland best seller.
  27. The story is a comic-book tale at its most basic level.
  28. What's frustrating is that the movie should be so much better, or at least more entertaining. With Baldwin, Macy and Bello, director Kramer is holding three of a kind.
  29. The whole thrust of the movie is to warn black women against emasculating their men.

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