Christian Science Monitor's Scores

  • Movies
  • TV
For 3,591 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 4.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Army of One
Lowest review score: 0 Bio-Dome
Score distribution:
3,591 movie reviews
  1. Graham was good in films such as "Boogie Nights" and "Bowfinger" where her apparent innocence was a smoke screen for her lustful connivance. To be effective in the movies, she needs something to counteract her wholesomeness.
  2. Maybe Jackson should avoid any more movies with "snake" in the title.
  3. Philippe Rousselot's carefully shaded cinematography looks great, but the screenplay is pretentious and there's little to applaud in the top-heavy acting by John Malkovich and Julia Roberts.
  4. The basic plot of Thomas Hardy's great novel "Jude the Obscure" comes through accurately enough, but its sublime irony and sardonic wit apparently got lost in the misty English countryside.
  5. 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.
  6. Amanda Plummer is even more weirded-out than usual as a serial killer wandering through England with her sadly befuddled girlfriend. [10 May 1996, p.13]
    • Christian Science Monitor
  7. Hal Hartley's innovative comedy-drama is more ambitious than successful, but it deserves credit for trying something genuinely unusual.
  8. As a movie, it's mediocre.
    • 16 Metascore
    • 25 Critic Score
    Beverly Hills Cop III is perhaps the dumbest of the cop trio. There are no surprises, there's no real police work to unravel, and there are no mysteries. It's all very predictable with lots of gunplay, noise, and blood. [3 Jun 1994]
    • Christian Science Monitor
  9. 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.
  10. The story is too self-conscious about its offbeat qualities, becoming so cool that it practically freezes on the screen.
  11. It's picaresque, all right, but full of ethnic stereotypes, and filmed much too blandly to compete with the superb ''Black Stallion'' of a few years ago.
    • 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.
  12. Sometimes, dear reader, there's no place like home, and that's just where you should be when this gorefest opens at a theater near you.
  13. 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.
    • 21 Metascore
    • 25 Critic Score
    With the mounting number of first-rate, even masterly foreign-language films locked out of movie theaters due to wary distributors, it's worth pondering why such laughable dreck as German actor-writer-director Vadim Glowna's House of the Sleeping Beauties actually made it through.
  14. By comparison, Bride Wars makes "Sex and the City" seem like Jane Austen.
    • 50 Metascore
    • 25 Critic Score
    Don't be taken in by Taken.
  15. The only point of interest in New in Town is sociological. In the current economic climate, this comedy about workers whose livelihood is rescued by a benevolent boss represents the ultimate wish-fulfillment fantasy. Don't spend your hard-earned discretionary cash on it.
    • 81 Metascore
    • 25 Critic Score
    The disjointedness of The Headless Woman might be the result of narrative complexity or of directorial ineptitude or (my favorite) of narrative complexity mangled by directorial ineptitude. If the residual fog ever clears, maybe I'll be able to tell you for sure.
  16. Why are Steve Carell and Tina Fey wasting their time, and ours, by appearing in the miserable comedy Date Night?
  17. The Last Airbender is like a Care Bears movie that got waylaid in the fourth dimension. It's insufferably silly.
  18. It will be interesting to see whether audiences embrace Mr. Diesel's barely controlled vigilante as warmly as they embraced Clint Eastwood's swaggering "Dirty Harry" and Charles Bronson's nasty "Death Wish" characters a few decades ago.
    • 26 Metascore
    • 25 Critic Score
    A suggestion to screenwriters: Stop telling stalkers that their passion isn't misplaced and that the girl will come around in the end. It is, and she won't. Just give it up.
    • 33 Metascore
    • 25 Critic Score
    "The idea evolved and expanded," he (Snyder) says, "and took on a life of its own." Unfortunately, all of that life must have dribbled away as the project developed, because the resulting nonsense has none.
  19. Full disclosure: I have to say I did laugh during Your Highness. Twice, I think.
  20. Numbingly inane comedy.
  21. It's a mash-up of blah buddy comedy and gross-out CGI monster splatter, with nary a laugh to be had.
  22. The effect is intended to be ghastly – which it certainly is – but I was equally repelled by this film’s conceit. Oppenheimer allows murderous thugs free rein to preen their atrocities, and then fobs it all off as some kind of exalted art thing. This is more than an aesthetic crime; it’s a moral crime.
  23. An impossibly, incomprehensibly overlong and cacophonous bore.

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