Baltimore Sun's Scores

  • Movies
  • TV
For 2,020 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 0.4 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Army of Shadows
Lowest review score: 0 Good Luck Chuck
Score distribution:
2020 movie reviews
  1. The pleasures of Ocean's Thirteen are so slight as to be eminently forgettable. Most of the "twists" in the plot are of the ho-hum variety; it's not that one sees them coming, but that they don't amount to much when they show up.
  2. A low-level hoot.
  3. From the moment he enters the picture, Baldwin looks good and sick of the whole scene. Unless you're in the mood for dysfunctional-family vaudeville, it won't take long for you to catch up with him.
  4. Director Martin Campbell and a quartet of screenwriters dump in everything from the rise of the Confederacy to the development of Weapons of Mass Destruction. What escapes them is the cool, clear line of action that would enable Banderas and Zeta-Jones to flaunt their amorous charms without huffing and puffing and stretch their swashbuckling muscles with dash, not balderdash.
  5. The movie comes together like a nihilistic jigsaw puzzle - with a few pieces removed for that special, indefinable dash of pseudo-density.
  6. The sad truth is that the film squanders almost all of its inspiration in the first 20 minutes or so.
  7. The whole movie is too predictable, its conflicts either forced or simplistic.
  8. With Diary of the Dead, Romero goes back to the beginning, only this time the amateurish look is calculated and the resulting film far less effective - if only because a handful of filmmakers have beaten him to the punch.
  9. The movie has been hailed and marketed as this year's Little Miss Sunshine, but it has none of that movie's empathy and comic surprise. Too much of it is like a subpar episode of Freaks and Geeks, padded out to 92 minutes with pseudo-witty dialogue.
  10. Memoirs of a Geisha was never primed to be a film that burns down the house.
  11. There's a funny premise at the core of Are We Done Yet? Too bad the movie doesn't do much with it.
  12. The film is mostly forced and heavyhanded. Forman first thought of using Goya to tell a story about the Inquisition several decades ago. Yet this movie appears to be as much about American behavior post-Sept. 11 as it is about 18th-century Spain or the Communist Czechoslovakia of Forman's youth.
  13. 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
  14. Heartstrings are pulled mercilessly in Dreamer.
  15. In the end, the movie proves to be, like Brosnan's character, a tarted-up cliche: a whoremonger with a heart of gold.
  16. Anderson creates a deluxe train set, for sure. All he neglects is building up an electric current or a head of steam.
  17. A History of Violence is a hollow story from an empty graphic novel.
  18. For most of its meandering running time Harsh Times is just a rough South Central L.A. buddy movie.
  19. The movie finally comes to life when Liu turns up.
  20. 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.
  21. JFK
    JFK is entertaining, if only because the cast of characters in the New Orleans underground is so bizarre. [20 Dec 1991]
    • Baltimore Sun
  22. Too bad it shortchanges the music and fails to provide much evidence for Wilson's appeal.
  23. Tang Wei brings a terrible and awe-inspiring purity to an impure character.
  24. It's doubly disappointing that all the subplots about Ace and Wallace and their fathers intertwine in increasingly predictable ways.
  25. It's easy to be offensive in a movie; it's much harder to be funny. Which is why Scary Movie emerges as such a waste; when you're so good at the latter, why keep falling back on the former?
  26. In The Last Samurai, the body count is almost as high as the dead-brain-cell count.
  27. The only gold in Sunshine State comes from its three female stars.
    • Baltimore Sun
  28. 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
  29. These actors have a firm playful grasp and a palpable affection for their characters' befuddled dignity and attraction. They understand what Wilde meant by the importance of being earnest.
  30. As the movie rambles along with its own brand of quasi-magical surrealism, the links to real experience grow scarcer and more frayed.

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