Baltimore Sun's Scores

  • Movies
  • TV
For 2,007 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 0.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Chicago
Lowest review score: 0 Waist Deep
Score distribution:
2007 movie reviews
  1. The Loss of Sexual Innocence is belabored, pretentious and often willfully opaque. [25 Jun 1999]
    • Baltimore Sun
  2. At least "White Chicks" had a point behind the humor.
  3. If you're not a fan of M. Night Shyamalan's convoluted, teasing thrillers, you'll find that getting into this movie is like cracking a puzzle in which the constructor keeps breaking his own rules or grabbing new ones from ultra-thin air.
  4. When Catch That Kid isn't careening from plot point to plot point, events turning on unseen dimes, it's trying to ingratiate itself with stunts and chases that its young audience have seen done better on Saturday-morning TV.
  5. Hands-down, the best James Brolin-in-an-Italian-accent movie ever.
    • Baltimore Sun
  6. You have to identify pretty strongly with suffering artistes to find anything to root for in The Science of Sleep.
  7. Bullock does her damndest to be nerdy and instead becomes excruciatingly artificial - a malfunctioning verbal fun machine.
  8. Barf-bag baroque.
  9. The movie is a premise in search of a comedy. Rather than flesh it out, the filmmakers put familiar glad rags on the skull and bones.
  10. Jane Fonda coming back to the screen after a decade-and-a-half absence in Monster-in-Law is like Brando returning from the dead to star in a Police Academy movie.
  11. Reprehensible.
  12. Not since Rocky II has there been a more blatant attempt to recapitulate a box-office hit without adding any new attraction or appeal.
  13. Not enough to keep Clockstoppers from turning viewers into clock-watchers.
    • Baltimore Sun
  14. The comedy of manners becomes strictly a comedy of bad manners.
  15. Ultimately groans under the weight of its own quiet gorgeousness.
  16. It's last in laughs, last in drama but first in Murphy ego, as he gives a performance that everybody has seen before, only louder. [04 Dec 1992]
    • Baltimore Sun
  17. Catherine Breillat's pretentious, meandering, self-indulgent portrait of a libidinously deprived young woman is nothing more than pornography tricked out as feminist parable.
  18. A story about unmotivated characters trapped in an ill-conceived plot.
  19. About as clunky as a movie gets. It lurches from scene to scene with no sense of narrative grace, gives its roster of prominent actors nothing to work with and screeches to a halt with all the grace of a sprinter whose shoelaces have been tied together.
  20. The desert is clean in Gerry, but it's also empty.
  21. In this film, Soderbergh appears to judge the actors by how well they spew or swallow bile.
    • Baltimore Sun
  22. "Hello, I Must Be Going," sings Groucho Marx in a clip from "Animal Crackers" at the start of the film. If I'd known what followed, I would have followed his advice.
  23. There's something junior varsity about the whole sensibility that makes the new version seem more dated than the old one.
  24. Indeed, Scream is better than the average slasher film, as its advertisers insist. And, indeed, it is probably Wes Craven's best film, as they also insist. But that is a little like saying the pimple on the left side of your nose is "better" than the pimple on the right side.
  25. The less said the better.
  26. In Schumacher's relentlessly arrhythmic and tone-deaf film, Gerard Butler plays the title role as if he were just plucked out of Monty Python's lumberjack chorus.
  27. Takes a literary milestone of ambiguity and makes everything about it blisteringly obvious.
  28. The problem with Allen's latest, The Curse of the Jade Scorpion, is "Not enough Double Indemnity."
  29. Perfume offers eau de crud.
  30. If you do insist on seeing this film, don't arrive late: the clever, animated opening credits are a stitch, suggesting a sprightliness of touch and winsome wickedness of tone that's missing from the rest of the movie.
    • Baltimore Sun

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