Baltimore Sun's Scores

  • Movies
  • TV
For 2,000 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 1.1 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Kill Bill: Vol. 1
Lowest review score: 0 CJ7
Score distribution:
2,000 movie reviews
  1. Munich is so broad-stroke it cuts itself at every turn. It's also a thoroughly lifeless movie.
  2. And the movie, likable for short stretches, ends up seeming worn and frayed, like Christmas decorations left hanging until spring.
    • 74 Metascore
    • 63 Critic Score
    Vintage Chan, with amazingly well-choreographed fight scenes.
  3. The title represents size and power, speed and hubris -- the very things the ship has come to stand for and the things that Cameron has restored to the cinema with grand, generous style.
  4. Possesses moments of fleeting grace, pathos and beauty, even if it ultimately doesn't amount to much.
    • Baltimore Sun
  5. Unwisely bills itself as a comedy.
    • Baltimore Sun
  6. Despite its director's skill at staging trash with dash, Oldboy is too long and portentous to be an enjoyable B movie. The movie's self-seriousness short-circuits its sensationalism.
  7. Journey is weary, yet imaginative.
  8. This documentary could have been a simple downer. Instead, it's a giddy, manic-depressive roller coaster - because it brings us eye to eye with Gilliam.
    • 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
  9. Darger made art as if the lives of his subjects depended on it. That's how Yu has made her movie.
  10. There's a persistent innocence to this movie that will work wonders on all but the most churlish.
  11. This documentary (like the fact-based 2004 feature Miracle) demonstrates how powerful true sports stories can be when they delve into the mystery of leadership instead of falling back on nostalgia.
  12. It was a time in history eminently worth celebrating on film.
    • Baltimore Sun
  13. Jewison's focus on the Canadians' dogged do-gooderism might have actually prevented a good movie from being a great one.
    • Baltimore Sun
    • 74 Metascore
    • 50 Critic Score
    The performances of Bell, Walters and Lewis make this movie worth seeing - as long as you silence your cynical side and bring some Kleenex.
    • Baltimore Sun
  14. In The History Boys, as in all of Bennett's work, irony is what the characters live and breathe - and I mean irony in its truest sense, of using language to present opposite and often sly alternatives to accepted wisdom.
  15. A Mighty Heart has the surface tension of a first-rate docudrama but neither the passion nor the vision to encompass its powerhouse subject.
  16. Vanya's journey to find his mom is not easy or picturesque or heartwarming. But it's also never without hope.
  17. The Duchess of Langeais is a romantic dance of death.
  18. Because Bar-Lev fails to go the extra mile either as a filmmaker or a friend, My Kid Could Paint That is at best "documentary silver."
  19. The movie is supremely nonjudgmental and balanced.
  20. Sin City is a seedy tribute to rugged masculinity disguised as a rogue's gallery, all the better to please college boys who like their sentimentality slicked with grunge.
  21. A film that immerses its audience in the Indian culture while telling a universally appealing story of grace under pressure.
    • Baltimore Sun
  22. Shower makes for a lovely and poignant journey.
    • 74 Metascore
    • 75 Critic Score
    You don't have to be a Metallica junkie to get this film.
  23. The sensuousness of Lemon Tree is its glory.
  24. In every important way, Breach isn't just a solid thriller; it's also an ambitious and engrossing piece of narrative journalism.
  25. It's a startling physical transformation, as Noland goes from flabby desk jockey to lean, mean fishing machine. But even more remarkable is the mental transformation Hanks effects.
    • Baltimore Sun
  26. 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.
  27. The glory of Japanese Story is that even after a daringly abrupt plot turn, the cast maintains its empathy and lucidity without interruption.
  28. Surprisingly moving and intellectually satisfying.
  29. A genuine odyssey: a journey to self-knowledge.
  30. With everything this film has going for it - humor, intelligence and a splendid ensemble - Richard Linklater's nightmare drug movie, A Scanner Darkly, should be continually compelling. But it loses its fizz after a strong series of pops.
  31. A wonderfully complex character at the center of a gratifyingly satisfying yarn.
  32. A celebration of movie-studio ohana that should warm the hearts of moviegoers everywhere.
  33. Near letter-perfect.
  34. If any man should be more than the sum of his parts, it's an artist. But Todd Haynes' I'm Not There makes Bob Dylan less than the sum of his parts. It's like a tony art-school parlor game.
  35. Himalaya does for yak caravans what "Red River" did for cattle drives: it sees them as the stuff of epic conquest.
  36. Isn't serious enough to fulfill its ambitions, or funny enough to compensate for its failures.
    • Baltimore Sun
  37. 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.
  38. By turns grisly and hallucinatory, The Proposition is one of those grand, mythic Westerns, full of wide-open spaces and dank little hellholes, detestable bad guys and virginal women, laconic lawmen and wary natives.
    • 73 Metascore
    • 50 Critic Score
    Designed to shock and rock the viewer with disturbing imagery, the film misses the point once too often.
  39. De Niro and Stiller combine to bring on laughs you don't have to feel guilty about.
  40. The perfect film for anyone who finds the Keystone Cops a little too understated and I mean that as a compliment.
    • Baltimore Sun
  41. I'm Not Scared presents an interesting picture of youthful innocence challenged, but not a truthful one
  42. Spurlock's movie is the real-life slapstick record of a kamikaze Mac attack. Schlosser's book is the contemporary equal of Upton Sinclair's classic meatpacking muckraker "The Jungle."
  43. Heading South is a hydra-headed love story, as dangerous as it is heated and complex.
  44. The result is a flabby, episodic phantasmagoria.
  45. This movie leaves 'em laughing - and gasping.
  46. Fresh, funny and unfailingly observant, Rocket Science is a mood-swinging movie about adolescence that lifts audiences' spirits even when its hero is down in the dumps.
    • 73 Metascore
    • 88 Critic Score
    What the film does, brilliantly, is provoke the intelligent fan to wonder if there's a limit to how far the proceedings can go.
    • Baltimore Sun
  47. So understatedly good.
  48. The blend of chic histrionics and ultra-bright daylight imagery make much of the movie resemble a network soap opera with an on-location interlude. It looks as cheap as life is held in Medellin.
  49. With a wistful look at the wages of ambition and the failure of promise, Wonder Boys finally celebrates self-awareness, ending on a muted, quietly moving note of triumph.
  50. Arrives as a balm to seared adult psyches that have endured all manner of assaults at the multiplex this season.
  51. One of the year's most unsettling -- and perhaps most illuminating -- films.
    • Baltimore Sun
  52. Lasseter's inclusive, utterly distinctive sensibility makes Cars all that it can be. His embrace of the comic-dramatic friction between innovation and tradition infiltrates every aspect of the movie - the look, the characters, the story.
  53. The Son's Room is the anti-"In the Bedroom." I mean that as a compliment.
  54. The way Frank structures and directs this film, it's too predictably "unpredictable."
  55. The Hangover is like an infernal comedy machine. Surrender your soul to its foul mesh of cheap cleverness and vulgarity. and you howl like a delighted demon. Resist, and you feel all sense and sensibility being crushed in its cogs.
  56. The kind of movie that gives mainstream Hollywood star vehicles a good name.
    • Baltimore Sun
  57. When the cast and their director are really cooking, they conjure a bipolar sense of high school-age emotion -- and use it to fuel outrageous fantasy.
  58. Director and dancers catch the audience up in a web of imagination.
  59. Ray
    It's a shame his (Foxx) performance isn't surrounded by a better film.
  60. Cheeky, brass-knuckles British crime film.
  61. Probably the most sweet-spirited sex comedy ever made. It's pretty funny, too.
  62. A moral, not a moralistic, movie. It's also a bracing aesthetic achievement, creating a fictional version of a factual case that illuminates as it entertains.
  63. Forget what Tom Cruise does outside his movies: What he does inside his movies is more than enough to wreck them.
  64. Notes on a Scandal isn't humorous or witty enough to sustain black comedy, and it isn't insightful or deep enough to suggest a contemporary tragedy. All it does is put an eloquent veneer on petty meanness.
  65. On screen, Road to Perdition becomes a lace-curtain shoot-'em-up about fathers and sons. The graphic novel is more kinetic and more powerful than the motion picture.
    • Baltimore Sun
  66. In the strongest scenes, Ben Affleck gets his lead actors to extract the bitter juice from Lehane's wood-alcohol prose. The movie has its horrifying Gothic twists and turns, but it's never better than when it takes these two into places where the underclass goes to forget or be forgotten or get lost.
  67. Burton's movie is more like Chris Columbus' first Harry Potter movie. Nearly everything that's supposed to be magical falls flat; nearly everything that's supposed to be mundane is magical.
  68. Quinceanera may be the year's most nonjudgmental film, and therein lies both its greatest strength and most naggingly troublesome weakness.
  69. Those not familiar with Proust will doubtless feel lost. Unlike the printed word, film does not offer the chance to pause and reflect, or go back and re-read a passage.
  70. Shallow and one-sided.
  71. The movie never undercuts his brilliance and his unexpected charisma. No matter how high his degree of malevolence, he cuts a bigger figure after you see the movie than he did before.
  72. The film's strengths can't be separated from its shortcomings. Despite its heavyweight supporting cast, Stone Reader mostly pays tribute to the enthusiasm and purity of the amateur.
  73. An exhilarating movie about sadness and renewal.
  74. Webber's film offers painstaking reproductions of the town of Delft circa 1665 in all four seasons. That's just the problem: you feel every pain he took. Girl With a Pearl Earring is an art movie in the worst way.
  75. JFK
    JFK is entertaining, if only because the cast of characters in the New Orleans underground is so bizarre. [20 Dec 1991]
    • Baltimore Sun
  76. It's no compliment to say a movie is "all of a piece" if the piece is all worn out. For all its surface harshness, this movie is a star vehicle at once rickety and cozy.
  77. Touching and insightful.
  78. This movie is about the survival of the open-minded. As far as current American independents go, it's the fastest and the funniest.
    • Baltimore Sun
  79. There's no denying the raw emotional power of this heart-rending story.
    • Baltimore Sun
  80. Seabiscuit revives the sweeping pleasures of movies that address and respect the mass audience, raising the common denominator instead of pandering to it. This crowd-pleaser rouses honest and engulfing cheers.
  81. 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.
  82. Contains a dozen winning moments of humor, uplift or exhilaration. But are they enough to justify a 154-minute running time?
  83. Hellboy is, to borrow a phrase, one helluva good time.
  84. This is a marvelous film, a look at the strange, exasperatingly labyrinthine process of adolescence and the diverse ways people find to deal with it.
    • Baltimore Sun
  85. It's one nutty holiday fruitcake that is appetizing and tasty.
  86. Sure, this movie is proudly profane, but it's also funny.
  87. Tautou's kind of talent: priceless.
  88. Unfortunately, it lacks emotional lift or folkloric fervor.
  89. Compulsion, self-deception and the slippery nature of evil are explored with fidelity and supreme control .
    • Baltimore Sun
  90. This picture is absorbing -- and eye-filling -- whether the prose and the passion are connecting or running on parallel tracks.
  91. Only David Lynch could make the incomprehensible so compelling.
  92. In real life, Bacon and Sedgwick are husband and wife. Their scenes mark one of the rare times an off-screen couple's intimacy enriches on-screen passion.
  93. A movie like this could easy slide into Shirley Temple territory, showcasing a child actor so full of sweetness and light and good, old-fashioned spunk that audiences wince. But Palmer, whose enthusiasm and energy never seem forced, avoids all those traps; her Akeelah is never less than believable.
  94. A Big Sleep with underage bozos, a Maltese Falcon where the stuff that dreams are made of rests in the lockers of a well-worn high school, Brick is a remarkable oddity, audacious and engaging.

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