Christian Science Monitor's Scores

  • Movies
  • TV
For 3,601 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 4.6 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Good Bye, Dragon Inn
Lowest review score: 0 The Bounty Hunter
Score distribution:
3,601 movie reviews
  1. It's disconcerting to see Virginia Madsen, who was so marvelous in her 2004 comeback role in "Sideways" reduced to playing the terrified wife here.
  2. Was Paper Man worth making? Captain Excellent and I would probably differ on that one.
  3. It’s impossible to take this movie seriously, certainly not as seriously as it takes itself.
  4. 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.
  5. There is one bit of good news. For all you abominable snowman fans out there, "The Mummy" is filled with yetis. And, boy, are they ever angry.
  6. It's a lot easier to follow than "Syriana." But intelligibility is about the only thing this international thriller has going for it.
  7. As the gambler who needs his basketball phenom brother to shave points, Whitaker has some expressive scenes, and Roth knows how to make malice gleam. But almost nothing else in this movie does.
  8. So hyperfrenetic that, in the end, you wonder if the Wachowskis aren't trying to pull off an elaborate hoax – a deranged techno fantasia posing as retro-ish family fare.
  9. This semiexpressionist fantasia is a botch.
  10. 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
  11. 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."
  12. Blending animation and live action, this ferocious fantasy is hopelessly vulgar in ways never dreamed of by "Who Framed Roger Rabbit."
  13. 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.
  14. 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
    • 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.
  15. John Hughes pours his usual slickness and sentimentality all over everything. [27 Feb 1987]
    • Christian Science Monitor
  16. The combination of caveman dialogue, overcooked action, and anything-for-an-effect performances is maddeningly crude even by cop-movie standards. [22 May 1987, p.23]
    • Christian Science Monitor
  17. The stagebound setting gets boring; the action doesn't build a steady momentum; and the characters do far too much hanging around until the camera's ready to point at them again.
  18. 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
  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. 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
  21. 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
  22. 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
  23. 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.
    • 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
  24. 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
  25. While the production is attractive in a calendar-photo sort of way, there's not a speck of genuine feeling in its glossy images.
  26. The Witches of Eastwick, based on John Updike's novel, takes just about every wrong turn it can find. Perhaps this was predictable, with a wild-driving director like George Miller at the wheel. What's surprising is how many opportunities for vulgarity and stupidity the film invents for itself, even beyond the book's built-in temptations to excess. [12 June 1987, p.21]
    • Christian Science Monitor
  27. I guarantee you, if Charles Dickens were alive today, he might well be writing movies but he sure as shootin' wouldn't have written "Ghosts."
  28. Few things are more dispiriting than a holiday movie straining to become a perennial. Such is the case with Fred Claus, an insipid Christmas comedy.

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