Christian Science Monitor's Scores

  • Movies
  • TV
For 3,854 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 3.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Uncovered: The Whole Truth About the Iraq War
Lowest review score: 0 Identity Thief
Score distribution:
3854 movie reviews
  1. The Good German is a prime example of a movie made by highly skilled and intelligent filmmakers that nevertheless seems misguided from the get-go.
  2. Haskins comes across as too pure. When he plays only his black athletes in the championship finals, his monomania is presented as a good thing. After all, he won, didn't he?
  3. The fact remains that some Treks are better than others, and ''The Final Frontier'' doesn't have the surprising warmth of the very best. It's diverting, but forgettable. [19 June 1989, p.15]
    • Christian Science Monitor
  4. Jarecki's thesis is that law enforcement targets minority communities, but his analysis is far too simplistic. Since when did pushers become victims?
  5. It’s fun for a while to see Kurt Russell hamming it up behind his voluminous mustache or Samuel L. Jackson once again raising rafters by laying down the law. But the film is pointless, even as entertainment, because it builds to nothing more than a comic book blood bath.
  6. If Concussion really stuck its neck out, it would have been the better for it. The film comes on as hard-hitting, but it’s weighted down with protective gear.
  7. The movie, at its best, is compellingly odd, which is also the most accurate description of Carrey's performance.
  8. There is no law requiring a biopic to make “nice” with its subject, but Get On Up, which presents Brown almost entirely unflatteringly except as a performer, makes you wonder why the filmmakers (including Mick Jagger, one of its producers) took the trouble.
  9. One thought that occurred to me while pacing myself through Flypaper: With the economy being what it is, will there be a rash of bank robbery movies?
  10. I'll say this much for Jumper – it's got a great premise. Or at least the beginnings of a premise.
  11. If nothing else, I hope that The Comedian signals an attempt by De Niro to once again take acting seriously. Without much supporting evidence, he’s still routinely called our greatest living actor. There’s still time to make good on that.
  12. As any kind of introduction to Ibsen, this film is more a turnoff than a turn-on.
  13. Green Zone wraps up with a wish-fulfillment fantasy that is about as believable as watching reinforcements riding in to save Custer.
  14. Simon Pegg, of "Shaun of the Dead" and "Hot Fuzz," is onscreen almost constantly in Run Fatboy Run, and his mugging and smirking and preening wear out their welcome fast.
  15. The Da Vinci Code is so transparently pitched as pulp entertainment that, in the end, it's about as subversive as "Starsky and Hutch."
  16. It seems less irreverent than self-congratulatory.
  17. When the military brass warns that "we're about to be colonized," you wonder if they mean to shut down the borders. It's probably not coincidental that the film is replete with Latino actors, or that one of the prime subplots involves a Hispanic father trapped behind enemy lines with his young son.
  18. The latest cinematic adaptation of Charlotte Brontë's novel, is like "Masterpiece Theater" without the masterpiece.
  19. Rappoport is a powerhouse performer but the movie is an unstable concoction of political melodrama, film noir, and weepie.
  20. Although Casanova is far from a stinker, I can't join in the chorus of praise for what is essentially a coy farce replete with arch performances and even archer dialogue.
  21. The film is a dutiful attempt to convey some of the vehemence of the novel – of the counterculture of the 1960s and early ’70s especially – but McGregor, making his directorial debut, lacks the temperament to do this era justice. He’s an innocent bystander in the melee.
  22. Laggies itself isn’t exactly slow – its pace is pleasantly meandering – and it’s far from aimless, although what it’s aiming for isn’t always clear.
  23. A more contrived and tenuous premise you would be hard-pressed to find, although, since this is a romantic comedy, suspension of disbelief comes with the territory.
  24. Laura Poitras’s Oscar-winning 2014 Snowden documentary “Citizenfour” is, almost inevitably, a stronger experience. That, too, was a species of political thriller but, unlike Stone’s film, it’s actually thrilling.
  25. There is nothing surprising about the way this overlong movie, written and directed by David Dobkin, plays itself out.
  26. A movie with ambitions as high-flying as its superhero but a success rate decidedly lower to the ground.
  27. The film is best when it focuses on Barnabas's culture shocks in this brave new world. Depp has fun with the character's bafflements without camping it up. What's missing overall is the sense of fun Burton once evinced in films like "Beetlejuice."
  28. The plot, as it unwinds, is increasingly eye-poppingly preposterous, but it holds you anyway, not only because of its outlandishness but because Plummer, against all odds, brings pathos and dignity to a role that doesn’t deserve him.
  29. I suppose it's a good thing that this movie has so many crisscrossing subplots. If one gaggle of whiners gets on your nerves, rest assured the scenery will soon change and another will take center stage.
  30. Schmaltz this thick requires a director who can at least make us feel that our tears are not being shamelessly jerked. But St. Vincent is too clunky to hide its tear-slicked tracks. Maybe that’s a good thing. At least that’s more endearing than being worked over by a smooth operator who knows exactly which buttons to press.

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