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 Simpsons Movie
Lowest review score: 0 Margot at the Wedding
Score distribution:
1,998 movie reviews
  1. Ghost Ship would have been so much better if they'd just let the ship do more of the acting.
  2. Stupid. Illogical. Simplistic. Pandering. And those are its good points.
    • 20 Metascore
    • 25 Critic Score
    There's a movie opening today that is so indistinctive I can barely remember its name.
  3. Isn't a full-bodied comedy, and it isn't a bona fide action movie, either. It just makes a facetious spectacle of itself.
  4. Not since Rocky II has there been a more blatant attempt to recapitulate a box-office hit without adding any new attraction or appeal.
    • 11 Metascore
    • 25 Critic Score
    The bottom line is that the studio's marketing strategy is just a tad incomplete. Instead of hiding Pinocchio from critics, Miramax should have hidden it from everyone.
  5. Irreversible, though, is not a Kubrickian head trip. All Noe has come up with is a turn-on for sadists.
  6. Equilibrium doesn't tread softly on our dreams; it tramples them.
  7. Excruciating...The movie proves to be singularly unfunny and static almost from the non-get-go. Virtually nothing happens; the movie is all premise.
  8. In the Cut is a disaster. Familiar to the bone, arty on the surface, it could serve as the doomed pilot for a nightmare TV spinoff: Law & Order: Literary Victims Unit.
  9. The film itself is an exercise in frustration.
  10. 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.
  11. Timeline lacks potency, drive, wit and personality -- all the things that make escapism worthwhile.
  12. It's relentlessly dumb and relentlessly humorous, and those aren't the adverbs it was after.
  13. 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.
  14. Most of the humor is both determinedly puerile and unfunny, performed by a generic cast.
  15. Most of the film simply wallows in gangsta hyperbole - it's all bling bling, bang bang.
  16. 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.
  17. The movie is a monument to egomania - and I don't mean Alexander's.
  18. It's the strangest comic misfire yet from Wes Anderson.
  19. The best reason to see it is Kate Bosworth as Sandra Dee.
  20. 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.
  21. The comedy of manners becomes strictly a comedy of bad manners.
  22. The problem with Allen's latest, The Curse of the Jade Scorpion, is "Not enough Double Indemnity."
  23. The animals in Road Trip are pretty hilarious; as a five-minute short on cable TV's "Animal Planet," this film would be a stitch.
  24. Unlike other movies about unpleasant characters, "In the Company of Men," for example, Chuck & Buck doesn't have that sharp observational edge.
  25. A story about unmotivated characters trapped in an ill-conceived plot.
  26. A hackneyed psycho-sexual thriller with enough awkwardly executed Hitchcock references to qualify as a bad DePalma knock-off.
  27. 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?
  28. Dramatically, it's a ghoul's parade of grieving folk finding solace and then danger through a tenuous connection to the after-life.

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