Christian Science Monitor's Scores

  • Movies
  • TV
For 3,842 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 3.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 The Age of Innocence
Lowest review score: 0 Wild Hogs
Score distribution:
3842 movie reviews
  1. Muddled screenwriting and uninspired directing.
  2. After a powerful opening, when we see the first victim suddenly go blind while driving in traffic, the film devolves into a dystopian freak show and wastes many wonderful performers, including Mark Ruffalo and Julianne Moore.
  3. I persist in believing that Melissa McCarthy is capable of starring in a movie that not only makes a scads of money but is – you know – good.
  4. A lovestruck Californian kidnaps a neighbor's dog as a way of getting her attention.
  5. The violent story is long on nastiness, short on credibility.
  6. The slasher-movie genre may never die, but can't its perpetrators think up variations more clever than this by-the-numbers rehash?
  7. Brody has offbeat charisma, but it's no match for the corny dialogue he's given here, not to mention the "Wild at Heart" snakeskin jacket he wears.
  8. Youngsters may enjoy it. But the humor is generally of the genre heard in the boys' locker room at the high school gym.
  9. The movie has a well-meaning message about love and loyalty being the bedrock of real family values, but its good intentions sag as the story trades its air of mischievous comedy for trite sentimentality, arbitrary plot twists, and enough maudlin melodramatics to sustain a tabloid TV series.
  10. The story is mildly entertaining in its hackneyed way, but there's no excusing the picture's exploitative treatment of almost all the female characters.
  11. The rest of Franco Zeffirelli's latest Shakespearean outing is so eager to be cinematic, with its peripatetic camera and souped-up screenplay, that it forgets to make sense.
  12. Shallow and sentimental in the sappiest Hollywood tradition.
  13. So stupid you'll wish you'd brought a duffel bag of your own.
  14. Adam Sandler's creative songs and silly expressions on "Saturday Night Live" may have turned him into a celebrity, but this movie based solely on his antics doesn't work.
  15. This boatload of clichés is strenuously unfunny.
  16. Spoiled by its simplistic portrait of people from the Mideast as incorrigibly violent and untrustworthy.
  17. What remains discomforting is their sheer failure to be funny.
  18. Fiction and fantasy to evade reflection on the world we actually live in.
  19. The story is inspirational in a superficial way, but the filmmakers focus so exclusively on their attractive heroine that the picture loses any real connection with Africa.
  20. The plot is predictable, the characters are cliches, and all the actors look and sound like refugees from a movie Martin Scorsese would have made vastly better three decades ago.
  21. It's astounding that the ingenious creator of "JFK" and "Wall Street" could make an epic on war and empire that's so utterly simplistic and unreflective.
  22. By comparison, Bride Wars makes "Sex and the City" seem like Jane Austen.
  23. It seems to have had the opposite effect on the director's taste, as she strives for new levels of raunchiness.
  24. The results are unbelievably tedious, but Mansfield buffs may find it intermittently worthwhile.
  25. Crass and soulless.
    • 33 Metascore
    • 25 Critic Score
    Pokes and prods the viewer to watch the brutal, indiscriminate methods of Rio's SWAT-like cops and then demands only one conclusion: That cops in Rio's drug-infested slums must do what they do and if that means rampant point-blank executions, so be it.
  26. Perhaps they truly believe war is an inescapable aspect of human life. If so, why make movies that rub our faces in its horror? If artists have no antidote to war's evil or insight into the suffering it brings, their motive in depicting it must be merely to sensationalize its terrors and make money from the morbid fascination it holds for audiences. We deserve better.
  27. Khouri's new picture takes all this talent and turns it into the kind of manipulative mush that Hollywood used to market under the condescending label "woman's picture" years ago.
  28. There are a few clever lines and Cleese has some sensational moments, but that's not enough to make the farce seem fresh.
  29. What ensues is a Halloween-style blood bath accompanied by graphic sex scenes.

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