Christian Science Monitor's Scores

  • Movies
  • TV
For 3,690 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 The Blue Angel (re-release)
Lowest review score: 0 The Green Hornet
Score distribution:
3,690 movie reviews
  1. It's difficult to imagine the target audience for this film. Gangbangers, perhaps?
  2. Ultimately, forgettable, but for most of the way it's a pleasant little vacation of a movie.
  3. The sole bright spot is Christopher Walken playing a benevolent Mafia don.
  4. Easy Virtue has aspirations to be much more than a comedy. It wants to flay, if only with a penknife, the entire British class system.
  5. 12
    I haven't heard this much shouting in a movie since the first hour of "Full Metal Jacket."
  6. It's not only Phoebe whose daydreams go out of control. Daniel Barnz, the writer-director, also goes a bit flooey. There's a lot more perspiration than inspiration.
  7. Even the "surprise" appearance of Keith Richards, as the scurvy father of Johnny Depp's Captain Jack Sparrow, has already been hyped to death in the advance press.
  8. Even the humor is played too broadly – another notch and we'd be in "Monty Python" territory, though not half as witty.
  9. See the film, if you must, for Mara, who will be starring in the upcoming Hollywood remake of "The Girl With the Dragon Tattoo." She's a sharp, vigilant actress whose career bears watching.
  10. The Iron Lady is too bland to be controversial, too antiquated to speak to the present.
  11. It's a moderately enjoyable escapade that isn't quite clever enough for adults and not quite imaginative enough for children.
  12. When a great movie subject results in a middling movie, the loss is double.
  13. It has its modicum of suspense, and Brendon Fraser, who stars as intrepid professor Trevor Anderson – who does indeed journey to the center of the Earth – is his usual heroically affable self.
  14. Director and co-writer John Krokidas doesn’t have a very fluent gift for period re-creation – everything seems stagy – and most of the actors, playing divas of various stripes, overact.
  15. If writer-director Marc Lawrence had stuck with Alex's faded glory, Music and Lyrics could have been terrific. It could have been about something. Instead, he's confected a curdled valentine.
  16. Despite some occasional moments of real sadness and terror, the turmoil in this movie is decidedly on the upbeat.
  17. Director Chris Wedge falls into the common animator’s trap of making the “human” characters a lot duller than the nonhuman creepy-crawlies.
  18. Beautiful geishas flit and whoosh through the equally beautiful scenery. Their kimonos are artworks-in-motion. So why is the film so boring? It could be because director Rob Marshall is so transfixed by all the ritualistic hoo-ha that he never brings the story down to earth.
  19. Slaboshpytskiy doesn’t attempt to get inside the psychology of these people, or expand the meanings, political or otherwise, of their descent. There’s a stolidity to the filmmaking, with lots of overlong takes, that is meant to be ruminative but often just seems negligent.
  20. This is fire-breathing melodrama masquerading as social commentary.
  21. The derby sequences are just OK, and the conflict between Bliss and her uncomprehending parents, played by Marcia Gay Harden and (a fine) Daniel Stern, is so predictable that you wish someone had rolled onto the set to whip it into shape.
  22. Too much of The Names of Love is a joke book posing as a movie.
  23. Director Wladyslaw Pasikowski has made the mistake of going about his business as if he were fashioning a horror film.
  24. Chen Shi-Zheng, well regarded as an opera and theater director, makes his feature film debut.
  25. Watching actors tap out code as big buzzing screens of digital data flash on the screen just doesn’t cut it.
  26. For all the glam and swank, the film is essentially a bright, shiny, empty puzzle. The puzzlemaking by writer-director Tony Gilroy is clever but most frequently an end in itself.
  27. The film has a creepy allure but, as movies featuring full-bore sexual gamesmanship often do, it wears thin.
  28. Departures is sappy and wacky – not the best combination.
  29. The chemistry may be good, the movie isn’t.
  30. It’s all third-rate “Pink Panther” stuff, and Brosnan, eager to play down his 007 bona fides, overcorrects.

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