Christian Science Monitor's Scores

  • Movies
  • TV
For 3,576 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 My Terrorist
Lowest review score: 0 Couples Retreat
Score distribution:
3,576 movie reviews
  1. Is Malick deliberately courting self-parody here? Probably not. That would imply he had a sense of humor.
  2. The Great Gatsby isn’t simply a classic American text: In Luhrmann’s hands, it’s also the greatest self-help manual ever written.
  3. The tonal problem of the second installment, which often resembled a drug-infested pulp thriller instead of a comedy, is also problematic here.
  4. It’s impossible to take this movie seriously, certainly not as seriously as it takes itself.
  5. There’s a potentially good comedy to be made about old-school guys trying to make a go of it in a youth-dominated digital marketplace, but director Shawn Levy and screenwriter Jared Stern overdose on moronic excursions.
  6. Hammer plays the Lone Ranger as a clueless, stolid square, and the resulting contrast with Depp’s cartoonishness isn’t odd-couple funny, just blah.
  7. The blue humor in We’re the Millers is just bland. And yes, Aniston performs a (modified) striptease. That’s pretty bland, too.
  8. I kept expecting Sacha Baron Cohen to traipse onto the scene. Alas, he doesn’t.
  9. Hailee Steinfeld’s Juliet is rather lovely and rather bland; Douglas Booth’s Romeo might have stepped out of a special Renaissance Faire edition of GQ.
  10. The melancholy in this film is just as trumped up as the frenzy.
  11. It’s like an over-the-hill gang variant on “The Dirty Dozen,” except not as much fun as that sounds.
  12. Practically every gag in this movie, and there are scores of them, is milked dry. When the gags aren’t very good to begin to with, this is a prescription for disaster.
  13. The still youthful-looking Sarandon playing a grandmother is a jolt, especially since she doesn’t resemble the doddering roustabout she’s supposed to be playing. Maybe that’s why the director Ben Falcone (McCarthy’s husband and, with her, the film’s co-writer) gives Sarandon a full head of gray hair.
  14. Even if the film were sharper, even if it was made by satirists on the order of Stanley Kubrick and Terry Southern in their “Dr. Strangelove” days, I would still argue that greenlighting such a film is a blunder. The exercise of free speech does not exempt one from the consequences of stupidity.
  15. The acting is sincere and the camera work is pretty, but this art-movie variation on "The Sixth Sense" doesn't have enough energy to fulfill the high promise of Berliner's previous picture, the enchanting "Ma vie en rose."
  16. In all, it's “Diner,'' female style. Directed by Donald Petrie from a blatantly manipulative screenplay that took four people to cook up. [24 Oct 1988]
    • Christian Science Monitor
  17. The message of the film is that life isn't neat and predictable like a well-arranged business trip; yet everything in the picture is so calculated that there's no life to it. [23 Dec 1988, A& L, p.19]
    • Christian Science Monitor
  18. Armageddon may sell tickets, thanks largely to a high-powered marketing machine that's been conducting its own countdown for the past several months. But it's not a pretty picture.
  19. The Abyss' isn't abysmal, but it's a replay of hits we've already seen - a recycled "close encounters of the wet kind'' with far too few ideas of its own. [18 Aug 1989, Arts, p.10]
    • Christian Science Monitor
  20. Verhoeven's lurid thriller has moments of welcome self-parody, but most of the action manages to be sensationalistic, homophobic, and tedious at the same time. [20 Mar 1992, Arts, p.12]
    • Christian Science Monitor
  21. John Hughes pours his usual slickness and sentimentality all over everything. [27 Feb 1987]
    • Christian Science Monitor
  22. Judged by the standards of ordinary filmmaking, it's as strange, suggestive, and surreal as other Lynch pictures have been. Judged by the standards of Lynch's own career, however, it's amazingly stale and second-hand… [and] contains not a single moment of genuinely felt emotion. [1 Sept 1992]
    • Christian Science Monitor
  23. The main performances are generally weak, although the smaller ones are sometimes brilliant, and the yarn never builds much momentum as it leapfrogs from one subplot to another. [28 Dec 1990, Arts, p.14]
    • Christian Science Monitor
  24. A second-rate adaptation of the second-rate Choderlos de Laclos novel: two hours of pretty people sitting in pretty rooms and talking about sex. [23 Dec 1988, A& L, p.19]
    • Christian Science Monitor
  25. As before, the movie is more impressive for its finely detailed vision of Los Angeles as a futuristic slum than for its story, acting, or message. It's all downhill after the first few eye-dazzling minutes. [2 Oct 1992]
    • Christian Science Monitor
  26. The director, Taylor Hackford, doesn't have the cinematic savvy to sustain so many tensions in a meaningful way; and the screenplay strays far over the line between incisive political comment and heavy-handed Red-baiting.
    • 35 Metascore
    • 38 Critic Score
    Punchy, cleverly stylized, but utterly empty yarn about a feisty young woman who welds by day, disco-dances by night, and dreams of the day when she can devote her life to her art.
    • 23 Metascore
    • 38 Critic Score
    The story is mostly a rehash of the original "48 Hrs.," with the same hard-boiled mixture of violence and wisecracks. Directed by Walter Hill, who specializes in this kind of thing and gives it a certain conviction, if little else. [13 Jul 1990, p.10]
    • Christian Science Monitor
  27. Blending animation and live action, this ferocious fantasy is hopelessly vulgar in ways never dreamed of by "Who Framed Roger Rabbit."
  28. While the production is attractive in a calendar-photo sort of way, there's not a speck of genuine feeling in its glossy images.

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