Christian Science Monitor's Scores

  • Movies
  • TV
For 3,626 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 Thin Blue Line
Lowest review score: 0 Half Baked
Score distribution:
3,626 movie reviews
  1. Waltz With Bashir is a supremely courageous act, not only as a piece of filmmaking, but much more so as a moral testament.
  2. The movie is true to its own fierce vision and it's the better for it. I haven't seen a stronger or better American movie all year.
  3. The pessimism pervading this film is summed up by Shalom, who says, speaking of the decades of occupation: "The future is very dark."
  4. Ida
    What comes through so powerfully in this movie is a portrait of an entire generation making its way from death throes to new beginnings.
  5. Parts of the film are flatly directed...It certainly keeps the audience guessing, though, and few movies explode so many stereotypes. [31 Dec 1992]
    • Christian Science Monitor
  6. The story raises hard moral questions relating to the relative value of human lives and the overwhelming debt that may be felt by those who benefit when others sacrifice. But the movie falls short of excellence because it doesn't so much explore these issues as finesse them in an action-filled climax.
  7. Granik filmed in actual locations and enlisted many locals as actors. They blend unobtrusively with the professionals in the cast.
  8. The story is so complicated that the movie can't quite make it clear, but the picture has impressive energy and high-intensity performances from Kevin Spacey, Danny DeVito, and Guy Pearce.
  9. Episodic and uneven, but it has moments of great emotional power.
  10. Her
    The wistfulness in this movie is large-souled. Theodore may worry that his love for Samantha makes him a freak, but Amy knows that “anybody who loves is a freak.” All this may sound touchy-feely in the worst way, but Jonze is trying to get at how we seek romantic connection in this brave (or not so brave) new world. Like Theodore, he risks looking foolish.
  11. Stands with the greatest science-fiction movies ever made.
  12. This poetic and compassionate drama by Canadian filmmaker Atom Egoyan combines the intricate structure of his earlier movies with an emotional power that raises his remarkable career to a whole new level.
  13. It takes time to grow accustomed to the docu- drama's stylized approach, influenced by Bertolt Brecht and Jean-Luc Godard. But this nearly six-hour movie is generous with time.
  14. The openness of these people is often astonishing – and a sign of hope.
  15. In Panahi's case, he is insuperably handicapped by his current constraints. And yet, despite everything, here is This Is Not a Film, which is emphatically a film – and an extraordinary one.
  16. Brilliantly acted, sumptuously filmed, and overflowing with mellifluous music.
  17. (Jonze and Kaufman's) work is so bold, funny, and original that it's hard to believe they aren't wide-screen veterans.
  18. All told, he's (Linklater) one of today's most versatile American filmmakers, and Before Sunset finds his light shining as brightly as ever.
  19. Sharper and smarter than any animation since "Shrek 2," making it one of the season's supermovies.
  20. Fugit gives a starmaking performance as the teenage reporter, and Crudup and Lee are excellent as the band's lead guitarist and singer, respectively.
  21. Filmed and acted to near perfection, it's one of the year's most innovative and exciting pictures.
  22. This territory is familiar if you remember the great BBC miniseries "Upstairs Downstairs," but Altman gives it a new twist with his restlessly roaming camera and incisively satirical approach. He's still near the peak of his powers.
  23. What United 93 demonstrates, as if we needed proof, is that it is too soon - it may always be too soon - to sort out the feelings from that day.
  24. Weir's offbeat directing makes the most of Andrew Niccol's inventive screenplay, which includes large doses of surprisingly sardonic satire aimed at today's entertainment trends.
  25. A compulsively watchable movie that's also a provocative inquiry into the ability of the criminal-justice system to determine culpability and truth.
  26. The film suffers from late-stage Scorsese-itis – wacky, low-slung, high-octane melodrama with lots of yelling and overacting.
  27. The film's final seven-minute shot is one of the great denouements in film history.
  28. The effect is intended to be ghastly – which it certainly is – but I was equally repelled by this film’s conceit. Oppenheimer allows murderous thugs free rein to preen their atrocities, and then fobs it all off as some kind of exalted art thing. This is more than an aesthetic crime; it’s a moral crime.
  29. Smart, funny, and splendidly acted.
  30. This is epic filmmaking on a profoundly human scale, directed to perfection and magnificently acted by everyone in sight.

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