Baltimore Sun's Scores

  • Movies
  • TV
For 1,999 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 Buffalo Soldiers
Lowest review score: 0 Margot at the Wedding
Score distribution:
1,999 movie reviews
  1. This sophomoric film has little to do with Elvis, and everything to do with putting as much carnage as possible on screen under the guise of art, poetry, choreography, taxidermy.
    • Baltimore Sun
  2. Offers jaw-dropping visuals, but its troubling images of violence may cause this revolutionary effort to miss the evolutionary boat.
    • Baltimore Sun
  3. Bad Company is about an undercover brother, but it will never be confused with "Undercover Brother."
    • Baltimore Sun
  4. To his (Snipes) credit, there are few other stars who could breathe a degree of credibility into a film like The Art of War.
    • Baltimore Sun
  5. Misfires on nearly every possible level.
    • Baltimore Sun
  6. Never makes the Jordans' tribulations feel like anything more than yuppie angst.
  7. Regrettably, Bones is what passes for horror these days: Throw a lot of graphic, gore-filled, darkly lit stuff on the screen, and see what sticks. Discerning moviegoers should pass on the opportunity.
    • Baltimore Sun
  8. A listless, disjointed collegiate opposites-attract comedy.
  9. A film that really has no idea what it wants to be, so it tries a little of everything, and does nothing very well.
  10. An only fitfully engaging L.A. soap opera.
  11. Made is an amateur-hour buddy movie.
    • Baltimore Sun
  12. There's less here than meets the eye, not to mention the ear, nose, tongue and fingertip.
    • Baltimore Sun
  13. As each male-female relationship works itself out in ways either contrived or predictable, here's betting you wind up more disappointed than enlightened.
    • Baltimore Sun
  14. The surprise behind Town and Country isn't that the director started filming without a finished script, but that he ever thought he had the start of one.
  15. (Perry and Willis) are blown off the screen by Amanda Peet and Natasha Henstridge.
  16. Little more than an electronic press kit for the band, produced for the benefit of its fans.
    • Baltimore Sun
  17. The movie gives us a time machine that resembles a twin-engined Mixmaster and a script that was tossed together inside one.
  18. A one-joke movie. What makes it misfire is that its one joke clashes with its one idea.
    • Baltimore Sun
  19. A visionary sort of horror movie should ponder three words: "Bram Stoker's Dracula."
    • Baltimore Sun
  20. As a spy film, The Sum of All Fears is flaccid, and as an expose of nuclear threats, there's not enough information.
  21. Crush is the kind of movie that gives friendship a bad name.
    • Baltimore Sun
  22. Manages to pretty much ignore all the strengths of the earlier film while exacerbating all its faults.
    • Baltimore Sun
  23. It's a mishmash of "The Bridge on the River Kwai," "From Here to Eternity" and "The Great Escape," with everything complex and entertaining siphoned off.
  24. Tries to be both poignant and wicked, and succeeds at neither.
    • Baltimore Sun
  25. Malkovich acts as if he's doing Shakespeare, pontificating, enunciating and generally overreaching.
    • Baltimore Sun
  26. It's supposed to be funny watching these two characters and wondering who'll be the first to start acting her age, but it's really just pitiful, watching two talented actresses...given so little to work with.
  27. No visual style, amateur effects.
  28. At some point the foul language, lascivious sight gags, references to sex toys, violence against animals and cruelty toward children simply ceases to be funny.
    • Baltimore Sun
  29. The Safety of Objects is just another stilted comic-dramatic essay examining the mold in the white bread.
  30. Strings of four-letter words are a poor substitute for dialogue, and it's not until the movie is almost over that someone realizes there's no reason, other than assumed macho posturing, for Cube's character to go after these bad guys so hard.
    • Baltimore Sun
  31. You won't believe the story director George Clooney and his goofball TV host are trying to sell. Really.
  32. Without Duvall, this movie would be as wet as Waterworld.
    • 38 Metascore
    • 38 Critic Score
    The supernatural stuff is ho-hum, the dubbing is sloppy and the action will only make you pine for the younger, hungrier and more injury-prone Jackie.
  33. What it is not is funny.
  34. Maybe this is a psychological thriller after all: Every thinking member of the audience will be driven insane.
  35. Because this Four Feathers is an utter botch, it might make savvy viewers feel that the subject matter is hopeless.
  36. It's hard to figure who this picture is supposed to be for. Although a cartoon, it's way too mean-spirited and crass for young kids (parents, be forewarned!). And the idea that any substantial number of adults would find this sort of thing entertaining ... let's pray civilization hasn't come to that.
  37. With a grating combination of naivete and arrogance, The Green Mile consistently overplays its melodramatic material, including a portrait of a black man that is as breathtakingly offensive as it is earnest.
    • Baltimore Sun
  38. Isn't serious enough to fulfill its ambitions, or funny enough to compensate for its failures.
    • Baltimore Sun
  39. There's way too much blarney in Evelyn.
    • Baltimore Sun
  40. I know Empire is supposed to be a movie, but for a while, I thought I was listening to one of those talking books.
    • Baltimore Sun
  41. Shyamalan plows the same old ground of juiced-up surprise endings.
  42. xXx
    The movie's own style is strictly an anti-style, all pre-packaged post-punk.
  43. Blessed with some outstanding performances, among them Ribisi's.
    • Baltimore Sun
  44. Greenaway's film is about making people's jaws drop.
    • Baltimore Sun
  45. An underlit, overlong, underwritten and overloud albatross of a movie.
    • Baltimore Sun
  46. However you pronounce Bythewood -- I assume it's by-the-wood -- his work here is strictly by the numbers.
  47. Despite these flaws, people sick of gross-out films and teen-sex comedy may be so hungry for farce that they laugh.
  48. It has graceful layers and folds and a nice swing to it, and Jackson moves superbly in it. Unfortunately, I'm talking about the kilt, not the movie.
  49. The unearned air of moralism that wafts through 15 Minutes pollutes its entertainment value.
  50. Sttrictly movie-of-the-week stuff. And not very good stuff, at that.
    • Baltimore Sun
  51. Method Man and Redman just don't have the comic timing to pull off 90 minutes at front-and-center.
    • Baltimore Sun
  52. Manipulates the audience.
    • 32 Metascore
    • 38 Critic Score
    Alex & Emma is a literary-minded romantic comedy that barely passes English, and flunks chemistry.
  53. The film is hapless. The gap between the moviemakers' ambition and their wit is dizzying. It's as if they thought they were filming The Importance of Being Unimportant.
  54. Bullock's character goes through some changes, but she never turns into some unrecognizably serious actress.
    • Baltimore Sun
  55. A mistaken message is a price a filmmaker pays when he tries to load weighty themes like the cycle of violence on an overgrown boy who scoots around on a bicycle.
  56. Its pleasures are slight and fleeting, and so many movies have done what it does, and done it much better, that there's nothing to get even remotely excited about - much less to draw audiences into theaters.
  57. 8 Women would probably be a looser, giddier salute to show-biz ideas of femininity if it were performed by eight drag queens.
    • Baltimore Sun
  58. Brain-softener.
    • Baltimore Sun
  59. Plays like Abbott and Costello Meet Conan the Barbarian.
  60. The best thing about Black Knight is when it finally says goodnight.
    • Baltimore Sun
  61. And Witherspoon? She does the American equivalent of a mechanical British performance: She hits every note too perfectly. There's no shadow to her smile.
  62. Like Adam Sandler's "Mr. Deeds," this is a hybrid, hipster-cornball movie that wants to celebrate common folk but unapologetically uses words like "trailer trash" to describe them.
  63. An uninteresting take on a tired formula that is only occasionally funny and usually pretty gross.
    • Baltimore Sun
  64. Rock Star neither touches a raw nerve nor garners any resonance as a period piece. You'd be better off renting "This is Spinal Tap."
  65. Ends up neither fish nor fowl. It's a misanthrope's "E.T."
    • Baltimore Sun
    • 35 Metascore
    • 38 Critic Score
    For grownups, this treacle is going to be pretty hard to swallow.
    • Baltimore Sun
  66. If it worked, The Fast and the Furious would put viewers in the same position as the policeman protagonist, attracted to speed but appalled by crime. Instead it sentences you to an hour and a half in a high-decibel limbo.
  67. The movie goes awry from the opening shots.
  68. S.W.A.T. may be an acronym for Special Weapons and Tactics, but by the end of this routine melodrama, it might as well stand for Standard Whacking and Trashing.
  69. To be fair, Friedkin does amp up the tension when called for. If only it were all for some purpose, or in service to a story that actually went somewhere.
  70. A violent, dumb, offensive mess.
    • 40 Metascore
    • 38 Critic Score
    Tries to rock our world, but it regresses to a single-celled B-movie.
    • Baltimore Sun
  71. It's not hell, but limbo, junior high-school style.
  72. Nolan pushes the twilight-zone atmosphere so hard that it loses its capacity for mystery. When it's not assaulting us with jolting audiovisual expressions of fatigue, this movie plays like a pedestrian response to David Lynch's effortlessly eerie "Twin Peaks."
  73. Busy, over-stylized mess of a movie.
  74. The material has a definite "haven't-we-been over-this-before?" feel.
    • Baltimore Sun
  75. Pious, high-minded and bad history.
  76. Of Madonna's considerable talents, making the camera love her isn't one: The screen seems to go dead every time she's on it.
  77. So what do we have here? Lots of cars going very fast.
  78. Painstakingly painful.
    • Baltimore Sun
  79. How does an embarrassment of riches turn into mere embarrassment?
  80. The apotheosis of adolescent junk. Every sequence spews or splats carnage-filled effects. It's over-the-top, but not pleasurably so -- it's calculatedly over-the-top. The only way to get off on it is to revel in its prodigal waste of materiel.
  81. The only question is how many levels of meaning can be plumbed from the phrase "Let's party!"
  82. As shallow and manipulative a movie as any that come to mind.
    • Baltimore Sun
  83. Formless, feckless, mindless, directionless and at times stunningly humorless.
    • Baltimore Sun
  84. A hollow excuse for an erotic mystery.
  85. Too bad this movie is more tepid than the average Snipes potboiler and even rustier than his mindless Blade pictures.
    • Baltimore Sun
  86. It's the oddest case yet of the Emperor's New Clothes. After all, the Emperor in the fairy tale was naked. This movie has tons of fabulous clothing. The people disappear within their wardrobes.
  87. Movie lite, a clueless, formulaic paint-by-numbers comedy.
    • 41 Metascore
    • 38 Critic Score
    It seems that in the movies, at least, there is a limit to how far low expectations can take you.
    • Baltimore Sun
  88. The dramatic content in Memento is as blank as Leonard's post-traumatic mental state.
    • Baltimore Sun
  89. American art movies rarely come fancier or emptier than Northfork, a down-home arabesque made of angel fluff.
  90. Needs a story.
  91. A hollow, relentless mess.
  92. Wonderland marks a "biopic" first: Moviegoers will know less about the real-life subject going out than they did going in.
  93. Simply go out and rent the original. In the thin ranks of killer-power-tool flicks, it's still the standard to beat.
  94. Never persuasively dramatize the agony, ecstasy and intricacy of composing poetry. Without that aesthetic component, all you see is that Plath's hunger for life couldn't compete with her death wish.
  95. Beyond Borders keeps angling for a peace prize; it might have won more hearts and minds if it came together as a movie.

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