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 1.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 The Class
Lowest review score: 0 The Strangers
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

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