Christian Science Monitor's Scores

  • Movies
  • TV
For 3,674 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 Ninth Day
Lowest review score: 0 Wild Hogs
Score distribution:
3,674 movie reviews
  1. What makes this small-scale drama so compelling is Pontecorvo's treatment of the main character.
  2. There's a new visual idea every second, each teeming with energy, pitch-dark comedy, and inspired cinematic lunacy.
  3. Movie-style romance may never look quite the same. Neither will flower petals.
  4. A complicated story that demands your full attention; Mr. Gondry unfolds it at a mind-bending pace. This alone makes it a hugely refreshing respite from ordinary multiplex fare.
  5. The director's cut of this 2001 cult fantasy is a deliriously subtle exploration of storytelling possibilities, and a deliciously wry teen-pic to boot. Brilliant.
  6. A riveting movie.
  7. Almereyda's movie is riveting for several reasons: its inside look at Shepard in action, its vivid account of how a challenging play is brought from printed page to public stage, and its glimpses of Shepard's troubled youth.
  8. It's hugely ambitious, with a sweeping range of character types, frequently shifting moods, stylistic flourishes of many kinds, and some mighty wry satire, aimed largely at the world of psychotherapy.
  9. A pungent pleasure from start to finish.
  10. Most of the way this ranks with the Coens' most immaculately crafted work. Cain would have loved its dreamlike chills, and so will audiences nostalgic for the movies of half a century ago.
  11. One of the sweetest and most heartfelt movies ever made about a life in the theater.
  12. It's a strange, one-of-a-kind film that was to be Benacarraf's only full-length feature.
  13. Funny, sad, and skeptical in about equal measures, it announces writer-director Dylan Kidd as a filmmaker with a bright future.
  14. Tykwer's style gives the movie an explosive energy that never quits, marking him as the most ingenious new talent to hail from Germany in ages.
  15. Most powerfully, Berg also films a number of O'Grady's victims as they recount their trauma and, in some cases, loss of faith.
  16. By holding the shot, as she so often does in this film, Takesue is encouraging audiences to take a deep, long look at things they might otherwise miss.
  17. Absorbing.
  18. What distinguishes Girl With a Pearl Earring is its combination of refined filmmaking and Johansson's exquisitely understated acting. It partakes of Vermeer's spirit and style, and that makes it one of the year's best movies.
  19. In addition to its own merits as a social and cultural document, Broomfield's film continues the welcome trend of more and more nonfiction movies finding their way to theater screens and attracting wide general audiences.
  20. At times the film is so supercharged that it glosses over the story's thematic richness and turns into a very high-grade action picture. But if that's the worst thing you can say about a movie, you're doing all right. The best thing to be said about Children of Men is that it's a fully imagined vision of dystopia.
  21. Enriched by allusions to biblical stories of fathers, sons, and sacrifices, subtly woven into the movie's moodily photographed fabric.
  22. In the acting department, there's nobody on the current scene with more sheer talent --- or offbeat charisma -- than Philip Seymour Hoffman, in whose bearish body nestles the heart of a lithe and limber artist.
  23. This is epic filmmaking on a profoundly human scale, directed to perfection and magnificently acted by everyone in sight.
  24. This is a brilliant, if challenging, film.
  25. The film's final seven-minute shot is one of the great denouements in film history.
  26. Not that Honda's original Godzilla is a message movie first and foremost. It's a horror flick, and an ingenious one at that, with visual effects so vivid that gimmicky spin-offs became an enduring staple of popular film.
  27. In Panahi's case, he is insuperably handicapped by his current constraints. And yet, despite everything, here is This Is Not a Film, which is emphatically a film – and an extraordinary one.
  28. All give heartfelt, unflashy performances that help make Shattered Glass one of the season's most thoughtful offerings.
  29. Max
    Reveals a key aspect of fascism's cynical use of art and architecture to mesmerize a weak and vulnerable society.
  30. The credo of Italy's fabled neorealist movement was that movies rooted in real, unadorned experience carry more dramatic impact than studio concoctions can dream of, and this 1952 masterpiece exemplifies that argument brilliantly.

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