Christian Science Monitor's Scores

  • Movies
  • TV
For 3,983 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 3.5 points higher than other critics. (0-100 point scale)
Average Movie review score: 67
Highest review score: 100 The Secret of NIMH
Lowest review score: 0 The Green Hornet
Score distribution:
3983 movie reviews
  1. 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.
  2. Brilliantly acted, sumptuously filmed, and overflowing with mellifluous music.
  3. (Jonze and Kaufman's) work is so bold, funny, and original that it's hard to believe they aren't wide-screen veterans.
  4. All told, he's (Linklater) one of today's most versatile American filmmakers, and Before Sunset finds his light shining as brightly as ever.
  5. Sharper and smarter than any animation since "Shrek 2," making it one of the season's supermovies.
  6. Fugit gives a starmaking performance as the teenage reporter, and Crudup and Lee are excellent as the band's lead guitarist and singer, respectively.
  7. The eroticism is all in the fittings of fabric and the power plays of a couple who make Mr. and Mrs. de Winters in “Rebecca” seem like Ward and June Cleaver from “Leave It to Beaver.”
  8. Filmed and acted to near perfection, it's one of the year's most innovative and exciting pictures.
  9. This territory is familiar if you remember the great BBC miniseries "Upstairs Downstairs," but Altman gives it a new twist with his restlessly roaming camera and incisively satirical approach. He's still near the peak of his powers.
  10. What United 93 demonstrates, as if we needed proof, is that it is too soon - it may always be too soon - to sort out the feelings from that day.
  11. The action sequences, at least as feats of engineering, are mightily impressive. But Miller is so caught up in all his hardcore allegorical hoo-ha that he never lightens up. Does he think maybe he’s Homer?
  12. Weir's offbeat directing makes the most of Andrew Niccol's inventive screenplay, which includes large doses of surprisingly sardonic satire aimed at today's entertainment trends.
  13. A compulsively watchable movie that's also a provocative inquiry into the ability of the criminal-justice system to determine culpability and truth.
  14. The film suffers from late-stage Scorsese-itis – wacky, low-slung, high-octane melodrama with lots of yelling and overacting.
  15. The film's final seven-minute shot is one of the great denouements in film history.
  16. Driver’s low-key charisma in the role rescues it from terminal dullness, and there are a few fine sidelights.
  17. Still packs an entertaining punch with its blend of old-movie formulas, new-age philosophies, and video-game visuals. A small amount of new material, added for the 20th-anniversary reissue, is fun to look for but doesn't make much difference to the story or its impact. [Special Edition]
  18. The effect is intended to be ghastly – which it certainly is – but I was equally repelled by this film’s conceit. Oppenheimer allows murderous thugs free rein to preen their atrocities, and then fobs it all off as some kind of exalted art thing. This is more than an aesthetic crime; it’s a moral crime.
  19. Smart, funny, and splendidly acted.
  20. This is epic filmmaking on a profoundly human scale, directed to perfection and magnificently acted by everyone in sight.
  21. Jesse Moss’s documentary The Overnighters is being hailed as a modern-day “Grapes of Wrath,” which, up to a point, it is. But it’s far more complicated than that.
  22. The director is fortunate to have cast actors who fully embody their roles. Muehe, who once played Josef Mengele in Costa-Gavras's "Amen," has the ability to let you see far beneath his masklike countenance. Koch, dashing and intense, is entirely believable as a man of the theater; Gedeck exudes a sensuousness that this covert society cannot abide.
  23. The film's approach is highly instructive, deeply moving, and geared to deploring the racism that breeds violence rather than reactivating old hatreds.
  24. It's great, fantastical fun.
  25. Petit, by the way, is still very much alive and spry. I saw him at a screening of the film at the Sundance Film Festival where he spoke to the audience afterwards. On his way up to the podium, he tripped.
  26. The film pays off in the end when, almost imperceptibly, the rush of emotions it stirs in us rises to a soft crescendo.
  27. I hate to sound blurby, but Borat is the funniest comedy I've seen since I don't know when.
  28. This delicate, hand-drawn marvel is lyrical and heartbreaking in ways that most live-action movies never approach.
  29. Of course, on some level, no movie about this subject can fail to move us, and Son of Saul has its share of powerful sequences. I wanted it to be great, though, with a largeness of vision to match the awful immensity of its subject.
  30. In a series of deft vignettes, the Dardennes offer up a microcosm of an entire working-class contingent, and each vignette is a universe all to itself.

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