Christian Science Monitor's Scores

  • Movies
  • TV
For 3,841 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 Sideways
Lowest review score: 0 Wild Hogs
Score distribution:
3841 movie reviews
  1. Positioned somewhere between sitcom and piercing human drama, The Kids Are All Right, is both overtly familiar and cutting edge.
  2. Swank gives one of the year's most complex and hard-hitting performances in the demanding central role.
  3. These paintings speak to us; they both compress and elongate time. In Cave of Forgotten Dreams, Herzog is reaching for ways to comprehend what he imagines to be the emblems of the birth of the modern soul.
  4. Farhadi’s new film, The Salesman, isn’t his best, or even second best, but it offers up glints of what, at times, makes him one of the best directors around.
  5. Piccoli gives one of the most nuanced performances of his distinguished career, but the primary star of the movie is de Oliveira, who unfolds the story with unfailing skill and sensitivity.
  6. Directed by newcomer Todd Field, who has a sensitive eye and a knack for storytelling.
  7. Ten
    Iran's greatest filmmaker is fond of stripping personalities bare through conversations they have while riding in cars. Here he pushes his favorite dramatic device to its limit.
  8. It's a transcendently uplifting tragedy.
  9. The sheer sensuousness of all these bric-a-brac memories is sustaining.
  10. Most powerfully, Berg also films a number of O'Grady's victims as they recount their trauma and, in some cases, loss of faith.
  11. Back to the Future doesn't exactly leap out of the starting gate, and some scenes are strung out by gimmicky editing. But the story picks up steam as it goes along, and the last third is especially full of speedy surprises. [3 July 1985, p.23]
    • Christian Science Monitor
  12. In some ways the movie might have been better if it had been about those two Hollywood guys with only occasional blips from the hostage crisis in Iran.
  13. It's a picture marked by competence, not the boiling-over intensity that Frears and Thompson fans have anticipated. [30 Nov 1990]
    • Christian Science Monitor
  14. Unexpectedly subtle cinematic style.
  15. The picture's thoughtfulness and ambition make it unusually suspenseful, gripping, and disturbing.
  16. One of Almodóvar's most challenging pictures, jumping around in time and sending a large gallery of characters through a wide variety of situations -- will find him again at the peak of his powers.
  17. The performances by Phoenix and Hoffman are studies in contrast. Phoenix carries himself with a jagged, lurching, simianlike grace while Hoffman gives Dodd a calm deliberateness. Both actors have rarely been better in the movies. The real Master class here is about acting – and that includes just about everybody else in the film, especially Adams, whose twinkly girl-next-door quality is used here to fine subversive effect.
  18. The Red Turtle benefits from being open to all sorts of possibilities and interpretations because we sense that Dudok de Wit respects our imaginings. He allows them to take shape right alongside his own.
  19. Smart, funny, stimulating.
  20. Loach has made more memorable films, such as "Raining Stones" and "Ladybird Ladybird," but his dramatic sense remains strong and his social conscience is absolutely unstoppable.
  21. The film should captivate anyone with a taste for bold cinematics, unpredictable storytelling, and pitch-black humor aimed at the worthiest of targets: a self-involved and self-congratulatory, industry that often gives lip service to art while worshipping the bottom line. [10 Apr 1992]
    • Christian Science Monitor
  22. It combines a fresh and exciting style with stunning performances and that rarity in current film, a deeply humanistic story.
  23. A marvel.
  24. Alternately inspirational and disheartening, galvanizing and wearying.
  25. The enchanting French-Belgian animated feature Ernest & Celestine is so liltingly sweet and graceful that, a day or two after I saw it, it seemed almost as if I had dreamed it.
  26. This is Hollywood's most mature treatment of the '50s-nostalgia theme so far, and the most accurate.
  27. A ruthless dissection of suburban malaise.
  28. Fan's camera moves sinuously through these people's lives and gives a human face to a national panorama.
  29. Too much of this film is attenuated and vague, but it has moments of deep melancholy.
  30. Politics and humanism find an engrossing balance in this ambitious drama based on the life of Reinaldo Arenas, a gay Cuban poet who was persecuted by the homophobic Castro regime.

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