Christian Science Monitor's Scores

  • Movies
  • TV
For 3,626 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 My Kid Could Paint That
Lowest review score: 0 Couples Retreat
Score distribution:
3,626 movie reviews
  1. Annie turns out to be a reasonably entertaining movie.
  2. Petroni's directorial debut is too bittersweet and atmospheric for its own good, wrapping a potentially strong story in too many layers of misty emotion.
  3. This indirect rehash of "To Catch a Thief" trades Hitchcockian shrewdness for the slickest kinds of Hollywood glitz, gloss, and vulgarity.
  4. A lot more violent and a tad less creepy than the 1974 original, the much-changed remake delivers enough gory, belligerent mayhem to keep horror fans screaming.
  5. No amount of technical skill can substitute for genuine shivers, and in the fright department this picture rarely lives up to its hype.
  6. The special effects are extra special. The screenplay is idiotic, though, and Diesel speaks his dialogue like a Sylvester Stallone clone who never finished third grade.
  7. The best thing about the film is the majestic mountain vistas, shot in Canada. You can practically inhale them.
  8. Nora Ephron's comedy tries to be sweet, hip, innocent, and sophisticated all at the same time, and it doesn't take long for these contradictory goals to cancel one another out.
  9. As a movie, it's mediocre.
  10. This fact-based drama is very well-meaning but also cloying, sentimental, and simplistic. Gooding's fake-toothed grin deserves an Oscar for best makeup, though.
  11. This throwback to the outmoded blaxploitation genre is skillfully filmed by Dickerson, but has little else to offer besides cheap, violent thrills.
  12. Director Vadim Perelman is big on slo-mo lyrical effects and confusing time shifts, making the movie unnecessarily arty and detracting from what could have been a searing psychological study.
  13. It's not the retro attitudes in "Confessions" that bother me (at least not much). It's the lack of laughs.
  14. The star's over-the-top energy isn't enough to make this hopelessly vulgar, numbingly repetitious farce worth watching.
  15. Poor writing and directing are the culprits - and whatever possessed the gifted Moore to make her role a nonstop Diane Keaton imitation? There oughta be a law!
  16. 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.
  17. The idiocy of the film's conceit is that Simon recruits innocents like Will to carry out these vigilante killings.
  18. There are many tantalizing bits, but the overall result is a simplistic story wrapped in barely explained quantum physics and new-age sound bites. Fascinating and frustrating in about equal measure.
  19. Poetic conceits only work if they're poetic.
  20. The whole enterprise comes across like a first draft.
  21. The action is fast, furious, and occasionally quite funny.
  22. As generic as its title.
  23. The movie has promise as a psychological thriller, but the filmmakers show far more interest in chases and shoot-outs than characters and ideas.
  24. If you're in the mood for razor-sharp satire, this is the most refreshingly outrageous movie of the season.
  25. Don't expect much from the scratch-and-sniff "odorama" gimmick; the mischievous John Waters set a higher standard for that novelty in "Polyester" (1981).
  26. 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!
  27. The staging of the physical comedy in The Pink Panther is not always adept - director Shawn Levy is no Blake Edwards - but Martin, who co-wrote the screenplay, keeps spinning in his own orbit anyway. And what an orbit it is.
  28. Crossing Over is not a success but make no mistake: There is great drama to be found in these streets.
  29. Too many clichés and too much uneven acting dilute its impact.
  30. Stoner jokes, awful gags, and just stupid stuff equate to one bad movie.

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