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. DiCaprio's performance is a revelation only for those who have underestimated him. In Scorsese's previous films, "The Gangs of New York" and "The Aviator," he seemed callow and miscast, but here he has the presence of a full-bodied adult. He's grown into his emotions.
  2. Kim's movie conjures a sense of spiritual discipline as suspenseful as it is stunning to watch and exhilarating to contemplate.
  3. Full of bright colors, offbeat people, tuneful sounds.
  4. It's a beautifully modulated performance of a man whose presence, at times, seems on the verge of vanishing – not a bad attribute for a spy.
    • 85 Metascore
    • 100 Critic Score
    The Wild Robot, above all else, isn’t just a life story. It’s a love story about community and intimacy, about what can be imitated, but never duplicated. It is the quintessential fable. Like any great parent, it offers lessons while remaining fun. The wilderness might be harsh, but we don’t have to be.
  5. Best where it counts the most - in its recognition of how difficult it will be for Dan and Drey to turn their lives around.
  6. An amazing, galvanic experience. It's about the hushed-up story of Benito Mussolini's first wife and child, but no one will ever mistake this movie for a standard biopic. It's too raw, too primal.
  7. Excellent acting, a stirring screenplay, and crisply intelligent directing make this fact-based movie a great human drama as well as a riveting and revealing look at crucially important social issues.
  8. As one of Booker's supporters notes, it's a sad day when academic success is used to denigrate an African-American.
  9. Results are illuminating, harrowing, and riveting.
  10. The movie is a portrait, not a polemic -- but I can't imagine an attentive viewer leaving Love & Diane without increased understanding and concern with regard to inner-city life.
  11. Nicholson makes the movie so poignant that it's hard to resist, but I wonder if Payne and Taylor are rejecting the skeptical attitudes of their other films to become more popular, hoping a softer emotional tone will help this picture win the Oscars that have eluded their more tough-minded works.
  12. A walloping entertainment, brimming with the magic-realist action that made Ang Lee's somewhat similar "Couching Tiger, Hidden Dragon" a hit.
  13. The film periodically risks turning into a swoony fantasy. But it is a fantasy we can favor because it’s one we all can share.
  14. All in all, a visual and musical feast.
  15. The movie is admirable in its ambitions; in its execution, less so. The difficulty in making an “intimate” epic is that the characters have to fill out the frame in ways that are both highly individualized and symbolic. They have to be both lifelike and larger-than-life. In Mudbound, this combination works only fitfully.
  16. The film is a real rarity, made even more so by the fact that what has moved us so profoundly are a bunch of pop-eyed plasticine figures.
  17. Cameron's imaginative directing and screen-shaking performance give this rock musical plenty of oomph.
  18. This is the kind of it-can-mean-whatever-you-want-it-to-mean art film that I usually run from, but Carax is such a prodigiously gifted mesmerist that, if you give way, you're likely to be enfolded in the film's phantasmagoria.
  19. Plays out its drama with enough old-fashioned sobriety to lend the proceedings a classical air, offering the comfort of familiarity rather than the thrill of discovery. [13 Aug 1992]
  20. This comic-book movie is more disturbing, and has more freakish power, than anything else I've seen all year.
  21. The emotional stakes are large-scale, and Farhadi honors them by delving into their intricacies.
  22. Extravagant and funny it is, and also quite dark at times.
  23. Vanessa Redgrave, as the adult Briony, appears at the very end in a monologue that rounds out the film with heartbreaking force.
  24. If I had to give a two-word review of Terrence Malick's The Tree of Life, it would be: "Wow! Huh??"
  25. Spielberg is such a supersleek craftsman that what might have been intended as a deep dive instead comes across for the most part as a sprightly gloss.
  26. Surely the best fiction film ever made on a jazz subject.
  27. A cross between "Godzilla" and "Jaws," it manages to be both truly scary and truly funny – sometimes all at once.
  28. There's some sexually tinged humor and a bit of foul language, but most of the action is lightheaded fun. The picture also has a striking visual style - showing what a strong talent Almod'ovar can be when he focuses his energy on cinematic values, instead of dreaming up provocative stunts that put his work beyond the pale for many moviegoers.
  29. Because the war in Afghanistan is so much in the news now – it should always have been so – a movie like Restrepo is both a bracing document and, in a larger sense, a disappointment.

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