Baltimore Sun's Scores

  • Movies
  • TV
For 2,005 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 0.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 The Class
Lowest review score: 0 CJ7
Score distribution:
2005 movie reviews
  1. 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.
  2. The dramatic content in Memento is as blank as Leonard's post-traumatic mental state.
    • Baltimore Sun
    • 78 Metascore
    • 25 Critic Score
    Try as I might, I could not love it, because as a piece of cinema, Into Great Silence would try the patience of a saint.
  3. 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."
  4. Unlike other movies about unpleasant characters, "In the Company of Men," for example, Chuck & Buck doesn't have that sharp observational edge.
    • Baltimore Sun
    • 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
  5. Isn't serious enough to fulfill its ambitions, or funny enough to compensate for its failures.
    • Baltimore Sun
  6. The result is a flabby, episodic phantasmagoria.
  7. 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.
  8. 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.
  9. A hollow excuse for an erotic mystery.
  10. The film itself is an exercise in frustration.
  11. You have to identify pretty strongly with suffering artistes to find anything to root for in The Science of Sleep.
  12. The only hope for Inglourious Basterds is that audiences will embrace it the way the Broadway crowd did "Springtime for Hitler": because it's so bad they think it's good.
  13. Revolutionary Road isn't just a failed literary adaptation. It's a failure of the worst kind: It doesn't even make you want to read Richard Yates' deservedly legendary book.
  14. 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.
  15. 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
  16. Aimless and unfocused.
  17. Without Duvall, this movie would be as wet as Waterworld.
  18. You won't believe the story director George Clooney and his goofball TV host are trying to sell. Really.
  19. Manages to pretty much ignore all the strengths of the earlier film while exacerbating all its faults.
    • Baltimore Sun
  20. Margot at the Wedding is a Christmas gift for high-class depressives: a compendium of malaise fit for an L.L. Bean catalog.
  21. Ends up neither fish nor fowl. It's a misanthrope's "E.T."
    • Baltimore Sun
  22. Indeed, Scream is better than the average slasher film, as its advertisers insist. And, indeed, it is probably Wes Craven's best film, as they also insist. But that is a little like saying the pimple on the left side of your nose is "better" than the pimple on the right side.
  23. 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
  24. American art movies rarely come fancier or emptier than Northfork, a down-home arabesque made of angel fluff.
  25. If you put the word Tired first, it would perfectly describe the movie.
  26. Overblown sanctimony and sentimentalism as corny as the Fourth of July.
  27. Blessed with some outstanding performances, among them Ribisi's.
    • Baltimore Sun
  28. An only fitfully engaging L.A. soap opera.
  29. Made is an amateur-hour buddy movie.
    • Baltimore Sun
  30. Takes a literary milestone of ambiguity and makes everything about it blisteringly obvious.
  31. It's the strangest comic misfire yet from Wes Anderson.
  32. 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
  33. Shyamalan plows the same old ground of juiced-up surprise endings.
  34. The Safety of Objects is just another stilted comic-dramatic essay examining the mold in the white bread.
  35. An uninteresting take on a tired formula that is only occasionally funny and usually pretty gross.
    • Baltimore Sun
  36. 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.
  37. You don't want to look at anything else when Zeta-Jones is on-screen.
  38. Roos suffers from fallen archness in his interminable new movie Happy Endings. He wants to be mischievous and ambitious and "human," all at the same time. He ends up with delusions of tragicomic grandeur that leave an audience fed up and dissatisfied.
  39. Perfume offers eau de crud.
  40. The film's storytelling and image-making lack originality and vitality. Nothing sticks to your memory unless you come in with recollections of the book.
  41. There's less here than meets the eye, not to mention the ear, nose, tongue and fingertip.
    • Baltimore Sun
  42. Needs a story.
  43. 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.
  44. Hanks tries his hand at a king-size heartless comic role, and flubs it terribly. He looks slack and pasty and, what's worse, sounds slack and pasty.
  45. Offers jaw-dropping visuals, but its troubling images of violence may cause this revolutionary effort to miss the evolutionary boat.
    • Baltimore Sun
  46. Will pop your eyes without tickling your funny bone.
  47. W.
    The movie plays like a dunk-the-clown game at a carnival. Through intent or ineptitude, he sets up the Bush family and administrations as caricatures.
  48. Smith appears to have poured his creative energy into the cheerful come-on of the title and left nothing in reserve for the movie. He fails to wring any memorable comedy from shoestring porno filmmakers because his own filmmaking is just as amateurish and slovenly.
  49. It's hard to know what these stars are ready for after this fiasco. Maybe a fitness video.
  50. The comedy of manners becomes strictly a comedy of bad manners.
  51. There's way too much blarney in Evelyn.
    • Baltimore Sun
  52. It's not hell, but limbo, junior high-school style.
  53. 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.
  54. The animals in Road Trip are pretty hilarious; as a five-minute short on cable TV's "Animal Planet," this film would be a stitch.
  55. The result is as flat as a year-old beer commercial.
  56. It's disconcerting to see Ferrell, a master of macho psychosis, adopt the stop-and-go dithering of Woody Allen-style neurosis.
  57. The low points in this movie aren't just catastrophic: they're bewildering.
  58. A visionary sort of horror movie should ponder three words: "Bram Stoker's Dracula."
    • Baltimore Sun
  59. The desert is clean in Gerry, but it's also empty.
  60. This film isn't the most awful comedy of the year (that would be Bride Wars or New in Town), but it may have the grossest antihero.
  61. 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."
  62. Whatever spark the newer Precinct 13 has comes from its supporting players.
  63. This is a movie for genre fans only; there's not an aspect to it that should appeal to the rest of the world. It's neither original nor inventive, and while its young cast works hard, there's not even a standout performance worth recommending.
  64. Kids will get antsy, wondering why their favorite characters disappear for long stretches of the film, while adults will wonder just when this scattershot approach to storytelling will congeal into something resembling coherence.
  65. A pastiche of sadistic horror-movie cliches with minor traces of wit but major overflows of perversity.
  66. The movie is a premise in search of a comedy. Rather than flesh it out, the filmmakers put familiar glad rags on the skull and bones.
  67. This new version may be closer to the Cole Porter biography, but it's hardly any more true to life. There is no life in this movie. It's a brittle contraption of a biopic.
  68. The whole thing is too preciously conceived. [05 Feb 1993]
    • Baltimore Sun
  69. Luhrmann steals good ideas, fair ideas and terrible ideas - anything that once moved him when he was a little boy. He's turned Australia into a more-than-you-can-eat buffet of colorful kitsch.
  70. The residents of Beauty Shop never quite gel. Instead of camaraderie, the feeling is one of bare tolerance.
  71. The second movie, Dead Man's Chest, is everything you feared the first would be: a theme-park spectacle lasting 2 1/2 hours.
  72. 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.
  73. The problem with Allen's latest, The Curse of the Jade Scorpion, is "Not enough Double Indemnity."
  74. So witless it wins most of its laughs when Czech-speaking characters spout obscenities that get translated into English subtitles.
    • Baltimore Sun
  75. Despite these flaws, people sick of gross-out films and teen-sex comedy may be so hungry for farce that they laugh.
  76. It's as if the book itself has been locked up and institutionalized, forced to conform to a system that all but obliterates its own unique personality.
    • Baltimore Sun
  77. The movie bobbles along on a weird, soft-edged sarcasm.
  78. Look, I love dogs. But this film tried my patience almost beyond endurance.
  79. Irreversible, though, is not a Kubrickian head trip. All Noe has come up with is a turn-on for sadists.
  80. This film isn't an enjoyable martial-arts extravaganza like "District B-13" or the "Transporter" films.
  81. Avary has taken a pig's ear of a book and turned it into a pig's ear of a movie.
    • Baltimore Sun
  82. The movie is a corpse. It's a fish that stinks from the head. They ought to bury it in the Jersey Meadowlands. [25 Dec 1992]
    • Baltimore Sun
  83. 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
  84. A movie made at wits' end. There are four or five authentic laughs in the whole 170-minute extravaganza.
  85. Solondz is still stuck in an adenoidal whine.
  86. If this version had been called The Poseidon Adventure, audiences could have sued for truth in packaging.
  87. Because this Four Feathers is an utter botch, it might make savvy viewers feel that the subject matter is hopeless.
  88. As ugly, excessive and vulgar as "The Usual Suspects" was stylish, subtle and suave.
  89. Heaven knows what the suits at Disney were thinking, for what they ended up with was a bland Jackie Chan movie and a lifeless travelogue.
  90. 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
  91. The Emperor's Club is a beautiful fraud -- as gracefully proportioned as a Christopher Wren academy, yet as devoid of content as a prep-school promo film.
    • 49 Metascore
    • 25 Critic Score
    A gigantic mess.
  92. Catherine Breillat's pretentious, meandering, self-indulgent portrait of a libidinously deprived young woman is nothing more than pornography tricked out as feminist parable.
  93. Isn't a full-bodied comedy, and it isn't a bona fide action movie, either. It just makes a facetious spectacle of itself.
  94. Lackluster in narrative and in no way original or innovative, the movie is pretty much generic Disney, a film about universal brotherhood stitched together from parts that worked better in other films.
  95. As a romance, Spanglish is like a wholesome flirt who drags things out and becomes a tiresome tease. As a satire of upper-middle-class Los Angeles, it's a disaster.
  96. A misfire in almost every direction.
  97. A one-joke movie. What makes it misfire is that its one joke clashes with its one idea.
    • Baltimore Sun

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