Christian Science Monitor's Scores

  • Movies
  • TV
For 4,000 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 3.4 points higher than other critics. (0-100 point scale)
Average Movie review score: 67
Highest review score: 100 Songs from the Second Floor
Lowest review score: 0 Mixed Nuts
Score distribution:
4000 movie reviews
  1. The story is a sort of "Stella Dallas Meets Slums of Beverly Hills," helped by heartfelt acting from its talented stars.
  2. As quietly dazzling as a small, very precious stone.
  3. Superbly acted.
  4. Smart and engrossing, if too heavy on the symbolism at times.
  5. Must-see viewing if you're not quite sure the sun really set over the British Empire.
  6. There are endearing and powerful moments which thankfully overshadow the occasional clichéd passages.
  7. To say it right out, The Bostonians is the best movie I've seen all year.
  8. The foundation of this sympathy is Hoover's complicated sexuality. Eastwood and Black have attempted to provide Hoover with the balm he denied himself in his own lifetime. It doesn't work.
  9. Although it’s refreshing to see a movie that stands up for charter schools and takes on teachers unions for their hammerlock on educational oversight, Bowdon overcorrects. His home state of New Jersey may not be an isolated case but neither, with its high level of corruption, should it be seen as altogether representative of all countrywide educational ills.
  10. Firth is very good at playing racked men of high principle. He’s so well cast as Lomax that, at times, he’s almost too perfect in the role. He’s still the best thing about the movie.
  11. This may be the first crime thriller to explicitly utilize superstring theory but, in its woozy romanticism, it's not that far removed from this year's other time-warp movie, "The Lake House," about two lovers living in parallel years - or "Frequency," which starred Jim Caviezel as a good guy.
  12. It's awfully difficult at this point in film history to come up with a car chase that's startlingly new, but Gray pulls it off. It's the best of its kind since "The French Connection."
  13. Pinter's screenplay offers an exciting mixture of psychological suspense and storytelling surprise, and the lead performances are close to flawless.
  14. The story of this Spanish thriller is weak in psychological credibility but strong in suspense, novelty, and imagination.
  15. His readings of his own work are especially thoughtful, moving, and provocative in the best possible ways.
  16. Given the high quotient of hypotheticals in the story line, Nixon & Elvis can’t really be said to add to the historical record, but it’s an entertaining, deadpan jape that, with a bit of tweaking, could probably work as a stage play.
  17. So how good/bad is Cars 3? If we’re talking Pixar threepeats here, it’s certainly no “Toy Story 3.” Instead, it’s a reasonably diverting, somewhat sluggish attempt to reinstall the “heart” of the first installment.
  18. Savages isn't about anything except flashily directed mayhem. In this nest of vipers, it's the slitheriest varieties that survive – at least for a time.
  19. As Molière, Romain Duris is frisky and, playing the wife of his benefactor, Laura Morante proves once again that she is one of the most intelligent and attractive actresses in the world.
  20. Lots of lively tunes and spirited acting.
  21. Although his movie often resembles the kind of promotional video one might find as an extra on a concert DVD, N'Dour in full throttle is a sight, and sound, to behold.
  22. Trevorrow and his co-screenwriters (Rick Jaffa, Amanda Silver, and Derek Connolly) do bring some nice low-key touches to the thudfest, and action is satisfying, if not galvanizing.
  23. LaBute is coming of age as an artist, and his future looks brighter than I ever would have suspected a year ago. Enfant terrible or not, he's starting to become a substantial figure in American film.
  24. Its best moments offer a sense of motion-picture poetry that will lift receptive viewers out of their seats.
  25. Lavishly produced animation makes imaginative use of familiar formulas, filling the screen with handsome images accompanied by sprightly songs and lively voice-performances.
  26. Less ambitious than "Blade Runner" but more coherent than "Artificial Intelligence: A.I.," which it vaguely resembles, I, Robot is best during homely moments when Smith shows his human side.
  27. "Money Never Sleeps" doesn't get inside the sociopathology of the money culture. In a sense, it is a product, an expression, of that culture. Maybe that's why it's so disagreeably agreeable.
  28. There's much subtle beauty in the last movie completed by Merchant Ivory Productions before Merchant's untimely death.
  29. The Whistleblower is frustratingly uneven, but at least it affords us the rare opportunity these days to meet up with a movie hero who isn't wearing jammies and a cape.
  30. I wish the film, which is mostly a standard-issue talking-heads-and-clips affair, had showcased more of her performing, but what we see still justifies her fleeting fame.

Top Trailers