Christian Science Monitor's Scores

  • Movies
  • TV
For 4,492 reviews, this publication has graded:
  • 55% higher than the average critic
  • 2% same as the average critic
  • 43% lower than the average critic
On average, this publication grades 2.1 points higher than other critics. (0-100 point scale)
Average Movie review score: 67
Highest review score: 100 'Round Midnight
Lowest review score: 0 Couples Retreat
Score distribution:
4492 movie reviews
  1. Scott has the courage to let the imaginative story unfold at its own leisurely pace, and it's not surprising that the acting is excellent, considering that he's among the very best American screen actors.
  2. Some of the material is dramatic, other bits are dull.
  3. The overlong comedy has few laughs and flirts far too much with racist, homophobic humor. A waste of a fine cast.
  4. The result is what you might call a mass-audience art film. It doesn't entirely succeed, but it's certainly a change from today's standard mysteries and horror movies.
  5. Well acted, capably directed, not as substantial as it might have been.
  6. Well made, nice performances, very slowly paced.
  7. Illuminating, disturbing, evenhanded.
  8. Gentle, humanistic, delicious.
  9. Compassionate and marvelously acted, although a subplot about the gay grandson slows the story down for a while.
  10. This is epic filmmaking on a profoundly human scale, directed to perfection and magnificently acted by everyone in sight.
  11. Plenty of mad moviegoers will put this in their diaries as one of the worst pictures in ages.
  12. An absorbing new spin on the ingenious "Rear Window" concept, with poignant comments on aging in modern society.
  13. Always hard-hitting and often grimly, revealingly satirical.
  14. The pace of this Bolivia/US coproduction is slower than that of a snail, but it gathers some interest as the themes of the vignettes dovetail near the end.
  15. Bland, amiable, innocuous.
  16. The story is a retread of the old "Exorcist" and "Omen" formats, but it delivers as much action and spectacle as fans of the genre could want.
  17. Cumming's antic acting is the only asset of this boisterous comedy.
  18. Certainly offbeat, but not on a level with director Kim's previous work about marginalized people.
  19. A riveting re-creation of three world-changing collapses: those of the Nazi party, of militarized Germany as a whole, and of the Führer who guided them into self-destructive ruin.
  20. Filmed in a leisurely, understated style, this dark comedy is downright entrancing. A spectacular directorial debut.
  21. Superb acting and authentic details energize this rare Iran/Iraq coproduction.
  22. Three short documentaries about photography made by one of France's finest directors.
  23. Along with its try-anything-for-a-yuk screenplay, the worst thing about Hitch is its running time of almost two hours. Did the studio forget to edit this flimsy thing down?
  24. The doc is longer on historical interest than original insights or analysis.
  25. This superbly filmed Italian drama stands with Bellocchio's best work. Originally titled "Ora di religione."
  26. The acting is endearing and the story has great charm before predictability and sentimentality eventually take over.
  27. Lovely to look at, if not very deep in its thinking about relations between humans and their animal friends.
  28. The gentle story, told via old-fashioned "flat" animation, is perfect for the very youngest viewers.
  29. Revealing and harrowing.
  30. Suffers from a lack of chemistry.
  31. Poignant and well acted, though not very memorable.
  32. Intermittently insightful, but a disappointment from the talented Munch.
  33. Superbly acted.
  34. Rush and Davis shine, and the drama is engrossingly told until it turns sadly sentimental in the last minutes.
  35. Utterly unsentimental, deeply moving.
  36. Gently filmed, quietly thoughtful, sometimes almost heartbreaking.
  37. A promising feature-film debut.
  38. This thriller is ingeniously woven with motifs suggesting the difficulty of seeing and understanding truth, and substitutes psychological chills for commonplace gore.
  39. Colorful, if not exciting.
  40. A major treat for the eyes.
  41. Lively, gentle, smart.
  42. Concise, humane documentary.
  43. Cube is cute and Long is lovely, but the youngsters are too brash and smug to bear. At least there's a heartwarming end to the excursion.
  44. Superbly acted.
  45. Not a great movie, but contains fascinating historical material.
  46. Imaginatively acted, endlessly atmospheric.
  47. Illuminating, if not exactly edifying.
  48. It's all energetically filmed, but I miss the cool, modest clarity of the first version. Bigger isn't always better, even at the movies.
  49. A scrupulously balanced look at the subject outlined in the title. Packed with historical, sociological, and cultural context.
  50. The movie's moral messages are all on target. Too bad the movie is much, much too long and Jackson gives one of his dullest performances ever.
  51. Like most movies aimed at the younger set, Racing Stripes has easily absorbable lessons to teach: Be yourself, never stop trying if your goal is worthwhile, and so forth.
  52. Extremely goodhearted, if not exactly original or exciting.
  53. Harrowing, informative, conscientiously balanced documentary. [14 Jan 2005, p.14]
    • Christian Science Monitor
  54. Beneath its regrettably banal surface, White Noise raises the creepy question of whether intimidating, even malign forces may be lurking in those fancy gadgets that fill our living rooms and offices.
  55. Be warned that the results are in aggressively awful taste from beginning to end.
  56. Documentary about stock trading, with some vivid images but no clear perspectives or opinions on the material it presents.
  57. Lively acting and timely humor are the main assets of this garden-variety comedy.
  58. In this exquisitely filmed adaptation Pacino is as vivid a Shylock as we're likely to see. Despite all the scholarly excuses for this drama, though, it's shot through with outrageously anti-Semitic attitudes.
  59. Rambling, meandering, likable.
  60. This is one of the rare movies to explore American materialism through the eyes of an all-too-ordinary person who isn't up to the challenges of everyday life.
  61. The thriller makes up in moody weirdness what it lacks in horror-tale originality.
  62. Tuneful, colorful, delightful.
  63. De Niro and Hoffman almost give comic life to this brainless, vulgar farce.
  64. The acting and crooning are sadly uneven, making this a shaky comeback vehicle for the screen musical.
  65. The subject is crucially important, but the movie dilutes its impact with by-the-numbers filmmaking, and Cheadle's one-note performance displays few of his acting gifts.
  66. Has to be called one of the year's best movies. Credit goes partly to the built-in fascination of its subject and partly to its excellent cast.
  67. I hate to sound per-Snickety, but this lemon of a movie is a sadly unfortunate event.
  68. Ultimately more exasperating than rewarding.
  69. Effective action, solid suspense, excellent Ribisi, plus enough clichés to equal the grains of Gobi sand that fill the screen.
  70. Spacey is almost as swinging as Darin was, but his filmmaking leans toward tried-and-true formulas.
  71. Bardem is brilliant.
  72. Superbly acted.
  73. It's an ideal match, and Eastwood deserves accolades as both director and star of this powerfully made picture.
  74. Forgettable fun.
  75. Isn't just a double whammy, it's a whammy squared - a goofy, stylish heist movie that'll steal moviegoers from other pictures.
  76. The director of "Rushmore" and "The Royal Tenenbaums" scores his most funny-sad movie to date.
  77. As a nonagenarian, de Oliveira is the world's oldest working filmmaker, and still one of the best. This is a lovely, lively, timely treat for the eyes and mind.
  78. Quite restrained for what's basically a horror movie, and very well acted.
  79. A stirring documentary, and would be more so if it focused more on social problems than on Briski's own work.
  80. It's too emotionally honest and psychologically dense for its own good. It's a movie that demands more than one viewing to absorb all its ideas and feelings.
  81. It's great, fantastical fun.
  82. The story meanders, but the subject is timely and important.
  83. Intimate and engaging.
  84. Gripping, suspenseful, and spiced with fascinating information about the long history of chess between human and mechanical opponents.
  85. Longer than necessary, that is, for the story it has to tell. This flaw aside, the drama is well crafted and sometimes touching, with especially forceful opening scenes.
  86. A must-see account that casts a harshly illuminating light on a key period of recent American history.
  87. It's astounding that the ingenious creator of "JFK" and "Wall Street" could make an epic on war and empire that's so utterly simplistic and unreflective.
  88. Its main message is that everyone should believe and behave in exactly the same way. Groupthink wins again!
  89. Visually sublime and intellectually dense, this is one of the extremely rare movies that prove cinema can be as complex and profound as the very greatest art works in any form.
  90. Tries to be a new "Something Wild"; ends up being tamer than tame.
  91. Too bad the clever bits are swamped by no-brainer gunfights, rescues, and chases galore.
  92. The delights of the movie lie in its zany characters, its goofy settings, and above all its surrealistic visual style.
  93. Spain's most important living filmmaker isn't at his very best in this complicated tale, but it raises still-timely questions well worth pondering.
  94. It's inexplicable that Wong's early masterpiece has been virtually absent from American screens since he completed it in 1991.
  95. This indirect rehash of "To Catch a Thief" trades Hitchcockian shrewdness for the slickest kinds of Hollywood glitz, gloss, and vulgarity.
  96. Forster keeps the picture as a whole in perfect tune with Depp's approach.
  97. The movie catches occasional fire when Bridget suddenly says what's really on her mind. The rest is silliness.
  98. The movie's style is fairly staid, but it's hard to imagine how Neeson could be better, and the subject is handled with taste and tact.
  99. Splendidly acted and directed.
  100. Santa Claus's bag couldn't hold as many clichés as the screenplay dishes out.

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