Christian Science Monitor's Scores

  • Movies
  • TV
For 3,690 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 The SpongeBob SquarePants Movie
Lowest review score: 0 Wild Hogs
Score distribution:
3,690 movie reviews
  1. 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.
  2. Red
    Any movie that opens with the killing of a pet dog is definitely going to capture your attention. But where do you go from there?
  3. The stage is set for a full-scale racial conflict, but neither actor is really up to the task - McDermott seems lost in his voluminous beard and Snoop Dogg spits his lines out.
  4. 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.
  5. Thomas Harris adapted his own bestseller and Peter Webber, who previously directed "Girl with a Pearl Earring," had the unenviable task of trying to give this glop, which is too gruesome to be campy, a high gloss. It should be called Man With a Severed Head.
  6. Violence in the movies, no matter how many CGI effects are utilized, can't help but be far more luridly realistic. And, in the case of Wanted, to what end?
  7. Amid all the mayhem, there is Paris in all its faded-light glory. Is the movie worth seeing as a travelogue? Only if you are (a) a masochist, (b) a terrorist, or (c) desperate.
  8. The treasure hunt in Fool's Gold is, of course, meant to be about more than money. But the only reason for this movie to exist is to make money.
  9. 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.
  10. 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.
  11. 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.
  12. 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?
  13. Poor Pierce Brosnan. Sport that he is, he does his level best to be a song-and-dance man but it's just not in him. He's touchingly awful. The same could probably be said for the entire movie.
  14. Doesn't evoke New York and its vignettes are trite – with one exception, a touching sequence directed by Mira Nair with Natalie Portman as a Hasidic bride and Irrfan Khan as a Jain diamond merchant.
  15. I would imagine that even those who line up for this film will be somewhat let down, if only because it's clear that most of the juicy stuff will arrive in Part 2 – which won't be released until next November.
  16. 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.
  17. Soppy, schematic weepie.
  18. No doubt Be Kind Rewind will soon make its way to – um – DVD.
  19. Frankly, if I'm going to be offered a heaping pile of revisionism about the greatest writer who ever lived, I'd rather it be from someone with more academic heft than the director of "Independence Day" and "Godzilla." I trust the teachers who receive this film's study guide have a shredder handy.
    • 44 Metascore
    • 42 Critic Score
    the strongest emotion it whips up is an overwhelming desire to stop your ears against the stupid dialogue, bombastic sound effects, and atrocious music that assaults you every second - courtesy of Dynamic Digital Sound, a diabolical new development in technological overkill. Surely no good movie would feel the need to be so loud. [25 Jun 1993]
    • Christian Science Monitor
  20. 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.
  21. Not a sterling example of how to make a high-toned weepie, let alone a serious examination of trauma.
  22. Fanboys, directed by Kyle Newman, doesn't delve into the mania of fandom, it exploits it.
  23. Unearths not only those thirty-three miners but also several thousand tons of clichés.
  24. 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.
  25. The only surprise to me about this movie is that there no jokes about kilts – a serious omission in an otherwise entirely predictable farce.
  26. Both Jolie Pitt and Pitt have demonstrated their chops in far better movies. I suspect the problem here is that there was no one around to tell them, “Please don’t. Please. Don’t.”
  27. The film also seems to end at least four times, which is three times too many. Better yet, it never should have started.
  28. Seven Pounds, coming after "The Pursuit of Happyness" and "I Am Legend," seems like the third in a trilogy of inspirational bummers.
  29. It's all a bit like "Girl Interrupted" shattered into a thousand shards, but Page somehow manages to come through with a performance despite the director's distracting technique.

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