Christian Science Monitor's Scores

  • Movies
  • TV
For 3,619 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 Outfoxed: Rupert Murdoch's War on Journalism
Lowest review score: 0 Wild Hogs
Score distribution:
3,619 movie reviews
  1. A mix of war film, road movie, and romantic comedy-drama, this peripatetic yarn is less resonant than Ghobadi's beautiful "A Time for Drunken Horses," but it has enough energy to keep your eyes popping and your toes tapping.
  2. Well worth seeing on the wide screen before its video release next year. It's guaranteed to take your breath away.
  3. A full-fledged masterpiece.
  4. The latest installment is packed with surprises and emotion for people who've seen earlier stages of the project, but even newcomers will be fascinated by the vivid glimpses it provides of everything from love and family to political action and the pervasiveness of class distinctions in British life.
  5. Anderson fulfills the promise of his inventive "Bottle Rocket" with this quirky, often hilarious comedy, and Murray gives his most uproarious performance since the groundbreaking "Groundhog Day."
  6. It's an ideal match, and Eastwood deserves accolades as both director and star of this powerfully made picture.
  7. Positioned somewhere between sitcom and piercing human drama, The Kids Are All Right, is both overtly familiar and cutting edge.
  8. These paintings speak to us; they both compress and elongate time. In Cave of Forgotten Dreams, Herzog is reaching for ways to comprehend what he imagines to be the emblems of the birth of the modern soul.
  9. Piccoli gives one of the most nuanced performances of his distinguished career, but the primary star of the movie is de Oliveira, who unfolds the story with unfailing skill and sensitivity.
  10. Ten
    Iran's greatest filmmaker is fond of stripping personalities bare through conversations they have while riding in cars. Here he pushes his favorite dramatic device to its limit.
  11. It's a transcendently uplifting tragedy.
  12. The sheer sensuousness of all these bric-a-brac memories is sustaining.
  13. Most powerfully, Berg also films a number of O'Grady's victims as they recount their trauma and, in some cases, loss of faith.
  14. Back to the Future doesn't exactly leap out of the starting gate, and some scenes are strung out by gimmicky editing. But the story picks up steam as it goes along, and the last third is especially full of speedy surprises. [3 July 1985, p.23]
    • Christian Science Monitor
  15. In some ways the movie might have been better if it had been about those two Hollywood guys with only occasional blips from the hostage crisis in Iran.
  16. One of Almodóvar's most challenging pictures, jumping around in time and sending a large gallery of characters through a wide variety of situations -- will find him again at the peak of his powers.
  17. The performances by Phoenix and Hoffman are studies in contrast. Phoenix carries himself with a jagged, lurching, simianlike grace while Hoffman gives Dodd a calm deliberateness. Both actors have rarely been better in the movies. The real Master class here is about acting – and that includes just about everybody else in the film, especially Adams, whose twinkly girl-next-door quality is used here to fine subversive effect.
  18. Smart, funny, stimulating.
  19. The film should captivate anyone with a taste for bold cinematics, unpredictable storytelling, and pitch-black humor aimed at the worthiest of targets: a self-involved and self-congratulatory, industry that often gives lip service to art while worshipping the bottom line. [10 Apr 1992]
    • Christian Science Monitor
  20. It combines a fresh and exciting style with stunning performances and that rarity in current film, a deeply humanistic story.
  21. DiCaprio's performance is a revelation only for those who have underestimated him. In Scorsese's previous films, "The Gangs of New York" and "The Aviator," he seemed callow and miscast, but here he has the presence of a full-bodied adult. He's grown into his emotions.
  22. A marvel.
  23. Alternately inspirational and disheartening, galvanizing and wearying.
  24. The enchanting French-Belgian animated feature Ernest & Celestine is so liltingly sweet and graceful that, a day or two after I saw it, it seemed almost as if I had dreamed it.
  25. Fan's camera moves sinuously through these people's lives and gives a human face to a national panorama.
  26. Too much of this film is attenuated and vague, but it has moments of deep melancholy.
  27. Despite its blunt characterizations and simplifications, City of Life and Death, through the inexorable pileup of gruesome detail, achieves an epic vision of horror.
  28. Whatever it is, Exit Through the Gift Shop is an original.
  29. One of the most dreamily unsettling documentaries ever made.
  30. The interaction between soldiers and captives becomes a microcosm for an entire culture. It's a wisp of a movie but it has stayed with me longer than much supposedly weightier fare.

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