Christian Science Monitor's Scores

  • Movies
  • TV
For 3,568 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 4.1 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 In the Mirror of Maya Deren
Lowest review score: 0 The Bounty Hunter
Score distribution:
3,568 movie reviews
  1. Was Paper Man worth making? Captain Excellent and I would probably differ on that one.
  2. I much prefer Mel Brooks’s “Robin Hood: Men in Tights” to all this doomy somberness. Why take the legend so seriously?
  3. It probably won't matter to its core audience that The A-Team doesn't make a lick of sense.
  4. As the doomed princess, Q’orianka Kilcher, who costarred as Pocahontas in Terence Malick’s “The New World,” has imperially striking features but limited acting skills. If her performances should ever rise to the level of her looks, she’ll be great.
  5. His drug-smuggling underworld, specifically the Amsterdam-New York connection, is likewise drably depicted. Is this because director Kevin Asch and screenwriter Antonio Macia deliberately played it down, or are they just incompetent? I’ll be charitable and vote for the former, but sometimes sensationalism is preferable to being altogether unsensational.
  6. The characters who come off best in Dinner for Schmucks are those dead mice.
    • 45 Metascore
    • 42 Critic Score
    The opening action sequence, unrelated to the main story, is nicely done, but after that it's all downhill.
  7. At some point in their careers, most male actors want to play (a) Hamlet, and (b) a hit man. I hope that Clooney has gotten "b" out of his system.
  8. As the boarding school honcho Father Benedictus, Geoffrey Rush chews so much scenery that he looks ready to burst.
  9. Eastwood and Morgan are not con artists, but their awe here is so unblinking that their film comes across as a transcendent con job.
  10. A love-it-or-hate-it movie. Put me in the (sort of) hate-it column. My slight qualification here is because Darren Aronofsky's movie starring Natalie Portman as an increasingly unhinged ballerina gets points for being unlike anything else that's out there.
  11. If you go to Burlesque expecting a campy hoot on the order of "Showgirls," you may be in for a disappointment. It's not quite awful enough, although it's plenty bad.
  12. Morning Glory isn't targeting the dumbing down of TV news. It's pandering to the audience that craves the dumbness.
  13. Normally I'd watch Helen Mirren in anything, even if she was just putting out the laundry or reading the phone book. But, given the roteness of her line readings here, it might have been better if the phone book rather than Shakespeare was her text.
  14. Ought to have been state of the art. But there's not a whole lot of artistry to be found in this movie.
  15. Sometimes empty is just empty. What Gertrude Stein said about Oakland can also apply to Somewhere: "There is no there there."
  16. Country Strong is the latest and, in many ways, the least impressive entrant in the achy-breaky sweepstakes.
  17. It would take a lot more than holy water to rescue Season of the Witch from mediocrity.
  18. A fumbling comedy directed by Dennis Dugan that could have benefitted from surgical reconstruction. How about some liposuction to siphon off all those lame jokes?
  19. Oldman makes a four-course dinner out of the scenery with enough slash and burn to leave you wondering if he is vying with Nicolas Cage for the title of filmdom's biggest hambone.
    • 51 Metascore
    • 42 Critic Score
    The casting of both Riegert and Allen may sound like an "Animal House" reunion, but the two have no scenes together.
  20. It is not the redemptive uplift that I am objecting to here. It's the way that Bier manipulates us in order to send us aloft. She wants the world to be a better place. Fine. But what she has concocted here is an arty version of the same old Hollywood dumb-down dramaturgy. It just has a higher gloss.
  21. It seems a bit cruel to cast Garner, who exudes charm, in such a charmless role.
  22. This semiexpressionist fantasia is a botch.
  23. The flashback sequences sometimes come across like "'For Whom the Bell Tolls' for Dummies."
  24. Foster seems blinkered and tone-deaf to what's actually appearing onscreen.
  25. Writer-director Massy Tadjedin cuts back and forth between these twin temptations. Will Michael succumb and prove Joanna correct in her suspicions? Will Alex's French accent conquer all? Do you care? I didn't.
  26. The only saving grace is that this time around, the script (yes, there is one, and it was concocted by Ehren Kruger) has occasional wisps of lucidity, and Bay delivers – overdelivers – on the mayhem.
  27. Since the only really good "Planet of the Apes" movie was the 1968 original with Charlton Heston, I've always wondered why filmmakers can't just leave well enough alone.
  28. The problem with this year-by-year structure is that the slow crawl to the end can seem agonizing if the film isn't engaging. And One Day, despite strenuous attempts by all involved to make us laugh, cry, and laugh-cry, is more likely to induce winces. We've seen it all before – and better.

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