Christian Science Monitor's Scores

  • Movies
  • TV
For 3,609 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 Personal Velocity: Three Portraits
Lowest review score: 0 The Wedding Planner
Score distribution:
3,609 movie reviews
  1. 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.
  2. Not even veteran talents like Dukakis and Scheider can surmount the artificial dialogue, arbitrary plot twists, and wan humor of this disappointing comedy-drama.
  3. Numbingly inane comedy.
  4. Too bad (Arnold) can't save the movie from it's superstitious clap-trap, sadistic violence, and sheer silliness.
  5. 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.
  6. How did a dignified pro like Duvall get stuck in this fender-bender?
  7. Hal Hartley's innovative comedy-drama is more ambitious than successful, but it deserves credit for trying something genuinely unusual.
  8. Suffers from a lack of chemistry.
  9. 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.
  10. 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.
  11. The blend of live action and animation is competently done, but the subtly mean-spirited screenplay has more sour meows than hearty laughs.
  12. 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!
  13. Almost entirely devoted to combat violence and sentimental interludes.
  14. 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.
  15. I doubt if the results would have satisfied Kahlo, whose originality in matters of life, art, and ideas was vastly more far-reaching.
  16. Nicolas Cage, Ving Rhames, and Steve Buscemi are among the few performers who emerge with a shred of dignity at the end.
  17. 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.
  18. This low-budget drama tries very hard to convey messages of tolerance and compassion, but it's too weakly acted and directed to have much impact.
  19. The problem with Possession isn't that it's filmed in a lackluster way, but that it shouldn't have been filmed at all. Byatt's novel is an adventure in language, telling its story through a kaleidoscopic array of Victorian-style poetry and prose, alongside gripping accounts of the characters' activities and escapades.
  20. Serial killing and other insanity in the French countryside, with ineptly dubbed English dialogue.
  21. The kind of comedy that aims at "edginess" and "sassiness" without managing to be edgy or sassy for a second.
  22. Some scenes paint a convincing portrait of Stern as a witty opponent of stuffiness, prudery, and hypocrisy. Others mix gross-out humor with nasty doses of racism, sexism, and homophobia that reveal a dark side to Stern's professional personality.
  23. A few mildly amusing gags don't outweigh the trite situations and mean-spirited attitude of this comedy.
  24. This belated "reimagining" is as beguiling as a dried-out palm tree.
  25. It has a degree of sociological interest, but it would be more effective if the material were shaped into a more coherent form.
  26. A director of Frankenheimer's stature deserves less sensationalistic material, and so does his audience.
  27. Even MacLachlan's surprisingly witty performance can't compensate for the trite screenplay and Mistry's lack of charisma.
  28. As a movie, it's mediocre.
  29. A romantic comedy-drama has to make sense, though, and Love Actually doesn't, actually.
  30. Repetitious teen-targeted fluff.

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