Christian Science Monitor's Scores

  • Movies
  • TV
For 3,619 reviews, this publication has graded:
  • 56% higher than the average critic
  • 2% same as the average critic
  • 42% lower than the average critic
On average, this publication grades 4.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Outfoxed: Rupert Murdoch's War on Journalism
Lowest review score: 0 Wild Hogs
Score distribution:
3,619 movie reviews
  1. If you want a movie time trip, the 1960 version is a far smoother ride.
  2. Tennant's featherweight comedy is clearly pitched at the date-movie crowd, and couples may enjoy it if they can get past the picture's simplistic ethnic stereotypes and its willingness to wish away every real-life family problem the characters will surely face after the feel-good finale.
  3. The suspense sequences are straight from the standard Hollywood blueprint, and the movie as a whole is so sloppily assembled that it's almost incoherent at times.
  4. Movie stars have tamed sassy kids in movies from "The Blackboard Jungle" to "Stand and Deliver," but it's hard to remember an example more patronizing or sentimentalized than this one.
  5. This woozily uplifting saga is big on homilies and deficient in just about everything else.
  6. If a mildly magical story is what you're after, it'll be worth the price of admission. Otherwise save your milk money for something more substantial.
  7. Unoriginal.
  8. Dull despite its suspense-driven story.
  9. Four chuckles and a lively final-credits sequence are a mighty poor score for 99 minutes of alleged comedy, and the sentimental stuff is even worse.
  10. How could such a high-octane cast produce such low-octane horror?
  11. Rarely have Gibson's tears seemed more fictional than in this supposedly authentic account of a historical event that's far too tragic to merit such superficial treatment.
  12. Eventually you realize the whole movie has been about young showoffs who think it's uproarious to gross out neighborhood grownups.
  13. Carpenter pulls out all the action-adventure stops, but he and coscripter Larry Sulkis forgot to write dialogue the audience could listen to without howling in disbelief.
  14. The animation is deft but the screenplay is stilted, the voice-performances are unimaginative, and the whole project is surprisingly clumsy in its efforts to please young and old alike. A major disappointment.
  15. Not even veteran talents like Dukakis and Scheider can surmount the artificial dialogue, arbitrary plot twists, and wan humor of this disappointing comedy-drama.
  16. Numbingly inane comedy.
  17. Too bad (Arnold) can't save the movie from it's superstitious clap-trap, sadistic violence, and sheer silliness.
  18. The picture is effectively made, but viewers will want to erase the horrific violence that erupts in scene after scene, leading to an unusually mean-spirited finale.
  19. How did a dignified pro like Duvall get stuck in this fender-bender?
  20. Hal Hartley's innovative comedy-drama is more ambitious than successful, but it deserves credit for trying something genuinely unusual.
  21. Suffers from a lack of chemistry.
  22. Shots of blood and naked bodies clash bizarrely with Coppola's more quaint and engaging notions; the result may be intended as a dialectical encounter, but seems more like a head-on collision.
  23. Great premise, but the ensuing trials and tribulations - not to mention hapless attempts at comedy - are as off-key as a karaoke scene in which Hudson sounds worse than any audition Simon Cowell has ever had to sit through.
  24. The blend of live action and animation is competently done, but the subtly mean-spirited screenplay has more sour meows than hearty laughs.
  25. The film has enough wild driving to satisfy any "French Connection" fan or "Bullitt" buff, but there's precious little for anyone else to enjoy. 2 foolish + 2 flashy = 4 get it!
  26. Almost entirely devoted to combat violence and sentimental interludes.
  27. In short, this movie is exactly the kind of starry-eyed escapist fantasy that Dr. Powell suspects Prot of having. It's harmless enough, since we can be cured just by leaving the theater.
  28. I doubt if the results would have satisfied Kahlo, whose originality in matters of life, art, and ideas was vastly more far-reaching.
  29. Nicolas Cage, Ving Rhames, and Steve Buscemi are among the few performers who emerge with a shred of dignity at the end.
  30. Whatever novelty this series ever possessed has gone down the proverbial tube. The actors are on autopilot, and Adam Herz's screenplay panders to its immature target audience so cravenly and relentlessly that it verges on incompetence.

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