Baltimore Sun's Scores

  • Movies
  • TV
For 2,002 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 1 point higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Fargo
Lowest review score: 0 Waist Deep
Score distribution:
2,002 movie reviews
  1. There's no irony within the film, but there's a whopping irony surrounding it. Just as Star Wars has finally ended, Rocky seems to be starting all over again.
  2. 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.
  3. It's an odd duck: a labor-intensive piece of light entertainment.
  4. No one has caught the pride, remorse and pain of an unloved and possibly unlovable husband better than Edward Norton in The Painted Veil.
  5. Funny Games condescends to its audience like a pretentious, preachifying graduate student in post-modernism. It would help us out of the cultural quagmire we're drowning in, if only we could understand its highly convoluted and exclusive language. [29 May 1998, p.1E]
    • Baltimore Sun
  6. 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.
  7. A movie of unforced nobility and quiet pleasures, Butterfly works on all sorts of levels.
    • Baltimore Sun
  8. The film has a lot of right in it, including an ending that's suitably uncertain, but fraught with possibilities.
    • Baltimore Sun
  9. Can be recommended even if just for the presence of Elaine May, who turns in her most charmingly ditzy performance since "A New Leaf."
  10. Aimless and unfocused.
  11. Remarkable documentary.
  12. Despite its haphazard rhythms and longueurs, The New World achieves an emotional payoff unlike anything else in Malick's work. It's all you think his movies are, and more.
  13. The triumph of American Hardcore is that it convinces general audiences that there were vast underground reservoirs of angst and anguish to be tapped.
  14. Instead of a sweeping epic, this adaptation of a novel by Elizabeth Bowen is much quieter, a work perhaps too understated and stereotypical for its own good.
  15. Foster is strident, Vincent D'Onofrio has little to do but chain-smoke thoughtfully as an accessible priest, and the physical atmosphere is hazy.
  16. Philip Seymour Hoffman steals the movie.
  17. The only gold in Sunshine State comes from its three female stars.
    • Baltimore Sun
  18. If The Eyes of Tammy Faye is skimpy, it's still an important correction to the record about this fascinating and misunderstood woman, who turns out to be much more than just her makeup.
    • Baltimore Sun
  19. While it displays its share of quirky charm, off-kilter characters and outlandish situations, this is really the first film where you can feel the Coens straining to keep up with themselves.
  20. The gritty heist picture The Bank Job has everything adult action fans could want, starting with a grand, fact-inspired gimmick.
  21. Kasi Lemmons' movie is called Talk to Me, but what it really does is sing to you, in the argot and cadences of soul, jazz, rock and rhythm and blues.
  22. The movie conveys the drama of the moment but eschews context. The result is an arresting yet frustrating experience.
  23. Divided We Fall has a lot going for it, but its Places in the Heart ending, sentimental and incongruous, helps ensure that it will not find a place in a demanding audience's heart or mind.
  24. "His eye is incredibly sharp and amazing, in regard to visceral cinema," says Uma Thurman, who has worked with Tarantino on both Pulp Fiction and Kill Bill. "He's a great storyteller. He's very seductive as a filmmaker."
  25. The enthralling documentary Crazy Love is about how a high-flying lawyer's obsession with a young beauty blinded her, metaphorically and literally.
  26. For all its pretensions, Changing Lanes, ultimately, is about nothing more profound than one foul day.
  27. The images here are graphic and disturbing. But Miike somehow manages to stop just short of disgusting.
    • Baltimore Sun
  28. 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).
  29. There's plenty to like about Adrenaline Drive, including the appealing, sympathetic performances of its two young stars and the tongue-in-cheek humor that pervades the film.
    • Baltimore Sun
  30. An opportunity to enjoy the pure adrenaline rush that has always been the hallmark of martial-arts cinema.
  31. It bears roughly the same resemblance to the Bennett Miller-Dan Futterman-Philip Seymour Hoffman masterpiece as the now-forgotten "Valmont" did to "Dangerous Liaisons."
  32. At best, North Country just inspires you to read the book.
  33. An unrelentingly dark vision that's as hard to watch as it is impossible to walk away from.
  34. Light, engaging documentary.
  35. The problem with Doubt is its dramatic certainty.
    • 68 Metascore
    • 63 Critic Score
    His film would benefit from more subtlety and tighter editing, but as both director and star, Gibson takes the story by the hilt and plunges forward, as single-minded as Wallace screaming into battle.
    • Baltimore Sun
  36. But even those who succumb to his primitive, survivalist vision may resent the way he presents every kind of atrocity at least twice without illuminating any of the exotic details once.
  37. It's one of those movies whose appeal depends on the viewer's tolerance for watching French people suffer, smoke and sigh prettily.
    • Baltimore Sun
  38. Both handmade and souped-up, it beautifully renders two types of camaraderie: the bonds among eccentrics and the fellowship of speed.
  39. The only thing that tops Cave here is Cohen himself at the end, singing "Tower of Song" with U2.
  40. What's missing is what Pixar never fails to provide: The kind of storytelling heart that is inseparable from imagination.
  41. This flight of fancy stays aloft on the power of its acting and its atmosphere.
  42. It's the whole constellation of relationships that Winick and company create in and around the barn that brings the movie its kaleidoscopic charm.
  43. Emily Dickinson wrote, "Hope is the thing with feathers." When Woody Allen published his second collection, he called it Without Feathers. Guest is as sharp and original as Allen, but he hasn't lost hope. For Your Consideration -- disillusioned but also fresh and ticklish -- is a thing with feathers, too.
  44. In Hustle & Flow, a star is born playing a star who's born.
  45. Characters are manipulated and lives made whole in ways both satisfying and unexpected.
  46. Soldini's consistently understated touch, and a poignant turn by Licia Maglietta as the confused and bemused main character, turns Bread and Tulips into a character study worth studying.
    • Baltimore Sun
  47. Heaven is so determined to be poetic and beautiful, it comes across as forced and didactic, a lesson in relative morality whose storyline doesn't so much flow as lurch from one stretch to another.
  48. The Bourne Identity keeps you in a state of nervous excitation from the opening shot to the fade-out and has a thread of deadpan humor that vibrates alongside the main action like a third rail quivering next to a hurtling train.
    • Baltimore Sun
  49. Russell's conviction is so total that it tingles the spines of the audience.
  50. The people are just a little too calculatedly quirky in Off the Map, an otherwise engaging comedy.
  51. It's a topical, iconoclastic documentary with the warmth and pace of a first-rate personal essay.
  52. There's a self-loathing at the center of Friends with Money that makes it a tad unpalatable, as well as a sameness, a dependence on cliche, that makes it seem trite.
  53. 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.
  54. Queen Latifah, the star of Barbershop 2 and Beauty Shop, and thus our reigning monarch of big-screen beauty stylists, should fund and narrate a sequel. Because The Beauty Academy of Kabul is good enough to make you want to know how they do.
  55. A pop masterpiece.
  56. It pulls together diverse residents of the city, from produce vendors to academics, and trains a loving eye on their unique environments and the urban landscapes they all share.
  57. There's more than a trace of James Dean in Gosling, except that he's a rebel with a cause.
  58. The fascination, humor and poignancy of Departures, this year's winner of the Academy Award for Best Foreign Film, rests in the Japanese ceremony of preparing bodies for their caskets.
  59. This Filthy World does many things, including transform tabloid commentary into comic art. But at its best, it shows that the child is father to the wild man.
  60. The original French title is "La Doublure," but The Valet fits Veber. He has become a one-man service industry when it comes to spreading Gallic barbed humor and good cheer.
  61. Fits squarely into the "exciting" category; it's a white-knuckler of the first order.
  62. Come Undone would have benefited immensely from less constricted performances from Elkaim and Rideau, both of whom go through the film determined not to crack a smile.
    • Baltimore Sun
  63. The movie ended just in time. Any more of it, and I'd have been crying uncle. Or maybe, given the grrrl-power of it all, crying aunt. This is one supposedly contrarian film that rouses the counter-contrarian in you.
  64. The movie may be too precious for mass consumption, but its filmmakers' willingness to assume the best of their audience, combined with its Everyman origins, suggest a movie that deserves a chance.
  65. Nolte's gambler-bandit Bob Montagnet is a triumph of imagination, touched with electric existential poetry.
  66. Kevin Spacey delivers his least-mannered, most effective big-screen performance in years as the voice of the nearly omniscient computer-robot, GERTY, whose silky ambiguity resembles HAL's in Stanley Kubrick's "2001: A Space Odyssey."
  67. Forgetting Sarah Marshall lacks snap, tension and bravura...Yet the movie is novel and big-hearted. It often succeeds at substituting a smorgasbord of psychological confusions for comic architecture.
  68. Kate Beckinsale is too good for any of the guys in Snow Angels and too good for this movie. Her inventiveness exposes just how puny this movie is.
  69. A terrifically engrossing war film in which not a single shot is fired, a movie about shaping events rather than being shaped by them.
    • Baltimore Sun
  70. Tightly scripted and intricately plotted, the buddy film manages the neat two-step of being simultaneously profane and engaging.
  71. As the movie rambles along with its own brand of quasi-magical surrealism, the links to real experience grow scarcer and more frayed.
  72. Russian Dolls never resorts to sitcom moments as it explores the transformation of friendship into love. All the characters here are believably appealing and refreshingly three-dimensional, and the situations they find themselves in have the ring of truth. You leave this film wanting to know these people, wanting the best for them.
  73. Bolt proves a refreshing throwback to the animated classics of yore.
  74. When it sticks to the subject, the movie is sad and affecting.
  75. Some dazzling in-camera special effects, especially the ingenious idea of filming the story's ghost at a slow speed, six frames per second, giving the being a strange, otherworldly way of moving.
  76. Norton is brilliant in Lee's so-so 'Hour.'
  77. The problem is not merely that Moore preaches to the choir. It's that, at his worst, he's so bumptious and bullheaded that he helps keep that choir small and strident. In Fahrenheit 9/11, Moore is so anti-Bush that he becomes a Bizarro-world version of Bush himself: tone-deaf, spluttering, incapable of framing an intelligent debate.
  78. The movie doesn't add up to much, but it's an effervescent expression of an odd brute-hummingbird sensibility.
  79. A thoroughly absorbing, even transfixing, journey to a future that may already be upon us.
    • Baltimore Sun
  80. Has a vitality and novelty rare in any youth movie, let alone one that claps fresh eyes on a cliched vision of a model minority.
  81. The glory of the movie is Depp, who achieves his own immortality.
  82. You know the line about paying to hear a great actor read a phonebook? I'd pay to see Channing just leaf through one.
    • Baltimore Sun
  83. What gives the film a haunting and sometimes droll poetic unity is the way co-directors Etgar Keret and Shira Geffen trace all their characters moving in a jellyfish-like fashion.
    • 67 Metascore
    • 88 Critic Score
    A passionate, heart-wrenching film that is a must-see for any romantic.
    • Baltimore Sun
  84. Without Duvall, this movie would be as wet as Waterworld.
  85. 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.
  86. Generally, this writer-director is too sensitive for his own good. He never lets his boy-hero lose himself fully in his new world - or relinquish hope that his parents will return.
  87. The movie maintains its comical, rocky equilibrium as long as the screenwriter, Dean Craig, sticks to domestic disasters and a Monty Python parody of "Cat on a Hot Tin Roof."
  88. In a feat of performing imagination, Ferrell turns his usual extroversion inside out and his usual zaniness into precision, and makes it all work for him.
  89. Cool!
  90. Anderson creates a deluxe train set, for sure. All he neglects is building up an electric current or a head of steam.
  91. The film stays true to its characters and keeps the laughs coming in what may be the closest thing in spirit to the old Warner Bros. Looney Tunes to hit the screen in years. And when it comes to animation designed primarily for laughs, praise doesn't come any higher than that.
  92. So minimalist that you wouldn't miss much if you watched semi-awake and listened to a friend's running commentary.
  93. You won't believe the story director George Clooney and his goofball TV host are trying to sell. Really.
  94. You won't want to miss it if you care about movies that dare to chart intimacies in our age of spectacle, or about up-and-coming female performers and underused male veterans finding roles worthy of their gifts.
  95. Smart, funny and often viciously cruel, this is a romantic comedy for people who are too old to believe in fairyales but wise enough to accept a happy ending when that's what life gives them.
    • Baltimore Sun
  96. It inverts the typical Hollywood boy-meets-girl formula into something somehow menacing and yet ultimately moving. [29 Oct 1991]
    • Baltimore Sun
  97. An enjoyably complex sci-fi suspense thriller.
    • Baltimore Sun
  98. Hartley is grasping at, and only fitfully achieving, an overall tone of mordancy - formally called "black humor" - rather than believability. [25 Oct 1990]
    • Baltimore Sun

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