For 219 reviews, this critic has graded:
  • 70% higher than the average critic
  • 0% same as the average critic
  • 30% lower than the average critic
On average, this critic grades 8.7 points higher than other critics. (0-100 point scale)

Gene Siskel's Scores

  • Movies
  • TV
Average review score: 71
Highest review score: 100 The Blues Brothers
Lowest review score: 0 UHF
Score distribution:
  1. Negative: 29 out of 219
219 movie reviews
    • 73 Metascore
    • 100 Gene Siskel
    One of the most original, appealing offbeat American films in recent years.
    • 60 Metascore
    • 100 Gene Siskel
    An exceptional comedy...Car wrecks and blues-related music galore in the best movie ever made in Chicago. [11 July 1980, p.3-8]
    • Chicago Tribune
    • 87 Metascore
    • 100 Gene Siskel
    A thoroughly engaging version of country singer Loretta Lynn's autobiography. Sissy Spacek excels as Lynn and is assisted by two superior performances. Certain to be one of the year's best films.
    • Chicago Tribune
    • 89 Metascore
    • 100 Gene Siskel
    All of the performances are first-rate; Pesci stands out, though, with his seemingly unscripted manner. GoodFellas is easily one of the year's best films. [21 September 1990, Friday, p.C]
    • Chicago Tribune
    • 95 Metascore
    • 100 Gene Siskel
    The beautiful title song, performed poignantly by the richly textured voice of Angela Lansbury, makes the case for all lovers to look past their partners' faults and into their hearts.
    • 86 Metascore
    • 100 Gene Siskel
    So what we have in the middle of Back to the Future, this seeming kids' movie full of screeching cars, special effects and lightning storms, is nothing less than an adult reverie. And if families could be persuaded to see this film together, it might touch off a long night of sharing between parents and children. [03 July 1985]
    • Chicago Tribune
    • 96 Metascore
    • 100 Gene Siskel
    Ran
    The physical scale of Ran is overwhelming. It's almost as if Kurosawa is saying to all the cassette buyers of America, in a play on Clint Eastwood`s phrase, "Go ahead, ruin your night"--wait to see my film on a small screen and cheat yourself out of what a movie can be.
    • 82 Metascore
    • 100 Gene Siskel
    What's so funny about Down and Out In Beverly Hills is not its moral imperative to appreciate life's simple, enduring pleasures. True, we get that message, and we appreciate it, but we already know that motto even if we don't live by it. No, what's funny is director Mazursky's extraordinarily fine eye and ear for capturing the way the wealthy residents of Beverly Hills walk, talk, dress and think.
    • 90 Metascore
    • 100 Gene Siskel
    A joy to behold, a complex film that never loses either its sense of purpose or sense of humor. [7 February 1986, Friday, p.33]
    • Chicago Tribune
    • 85 Metascore
    • 100 Gene Siskel
    Raiders of the Lost Ark is, in fact, about as entertaining as a commercial movie can be. What is it? An adventure film that plays like an old-time 12-part serial that you see all at once, instead of Saturday-to-Saturday. It's a modern "Thief of Baghdad." It's the kind of movie that first got you excited about movies when you were a kid.
    • 66 Metascore
    • 100 Gene Siskel
    It's a superb, thoughtful drama that doesn't claim to be a documentary and shouldn't be judged as such. [22 Dec 1995, p.B]
    • Chicago Tribune
    • 70 Metascore
    • 100 Gene Siskel
    One of those rare films that communicates the exquisite joy of the moviemaking process. [7 October 1994, Friday, p.B]
    • Chicago Tribune
    • 80 Metascore
    • 100 Gene Siskel
    Sarandon delivers one of her very best performances; her shock at encountering the wrath of the victim's family is registered beautifully. And Sean Penn, who for too long has suffered with the label of being a "bad boy," gives an Oscar-caliber performance.[12 January 1996, Friday, p.B]
    • Chicago Tribune
    • 95 Metascore
    • 100 Gene Siskel
    Toy Story is a complete joy.
    • 87 Metascore
    • 100 Gene Siskel
    Wonderful performances by Donald Sutherland, Mary Tyler Moore, and Timothy Hutton. [19 Dec 1980, p.2-10]
    • Chicago Tribune
    • 80 Metascore
    • 100 Gene Siskel
    More than a great love story. It's both a lighthearted and deeply impassioned inspirational lesson about life. [4 April 1986]
    • Chicago Tribune
    • 83 Metascore
    • 100 Gene Siskel
    Sold as a romance, but actually is one of the funniest pictures to come out in quite some time. [15 Jan 1988]
    • Chicago Tribune
    • 87 Metascore
    • 100 Gene Siskel
    Mixing moments of genuine terror with offbeat comedy, writers Tom Epperson and Thornton have created a script that jumps along wih the energy of "In Cold Blood."
    • 81 Metascore
    • 100 Gene Siskel
    What distinguishes The Deer Hunter most is its many rich characters and the size of its vision. This is a big film, dealing with big issues, made on a grand scale. Much of it, including some casting decisions, suggest inspiration by "The Godfather." [9 Mar 1979]
    • Chicago Tribune
    • 92 Metascore
    • 100 Gene Siskel
    Platoon is filled with one fine performance after another, and one can only wish that every person who saw the cartoonish war fantasy that was Rambo would buy a ticket to Platoon and bear witness to something closer to the truth.
    • 96 Metascore
    • 100 Gene Siskel
    There is only one problem with the excitement generated by this film. After it is over, you will walk out of the theater and, as I did, curse the tedium of your own life. I kept looking for someone who I could throw up against a wall. [8 November 1971]
    • Chicago Tribune
    • 81 Metascore
    • 100 Gene Siskel
    It balances bloodshed with charm, spectacle with childlike glee. It's a near flawless movie of its kind.
    • Chicago Tribune
    • 75 Metascore
    • 100 Gene Siskel
    A cornball adventure film about a dashing young explorer mixing with New York cafe society types. What a delightfully complicated fantasy film this is. What Woody Allen has done with The Purple Rose of Cairo is create a classic film about our love affair with fantasy. [28 Jun 1985, p.1]
    • Chicago Tribune
    • 78 Metascore
    • 100 Gene Siskel
    To miss this film is to cheat yourself and your family of a memorable moviegoing experience.
    • 86 Metascore
    • 100 Gene Siskel
    What "M.A.S.H." did to service comedies, what "McCabe and Mrs. Miller" did to westerns, what "The Long Goodbye" did to detective pictures, The Player does the to Hollywood success story. [24 April 1992]
    • Chicago Tribune
    • 61 Metascore
    • 100 Gene Siskel
    The Natural is a fairy tale from start to finish, full of wildly implausible scenes that win over our emotions because, frankly, that's the way we'd like life to be. Being a baseball fan involves repeatedly experiencing exquisite pain and exquisite joy. Well, there's a lot of both in The Natural.
    • 62 Metascore
    • 100 Gene Siskel
    A shockingly powerful screed against racism that also manages to be so well performed and directed that it is entertaining as well. [30 October 1998, Friday, p.A]
    • Chicago Tribune
    • 93 Metascore
    • 100 Gene Siskel
    What is surprising is how well Spielberg captures the horror, moving his camera with the fury of a combat photographer on the run. [17 Dec 1993]
    • Chicago Tribune
    • 92 Metascore
    • 100 Gene Siskel
    Filmed in black-and-white and shockingly well acted by De Niro, Raging Bull suggests that if you are looking for the source of evil in the world, you don't have to look any further than yourself. It's inside you or it isn't. And it comes out or it doesn't. [19 Dec 1980]
    • Chicago Tribune
    • 78 Metascore
    • 100 Gene Siskel
    Kubrick's contributions are his wit and his eye. The wit, too much at times, is as biting as in "Dr. Strangelove," and the production, while of another order, is as spectacular as in "2001." [11 Feb 1972]
    • Chicago Tribune
    • 97 Metascore
    • 100 Gene Siskel
    My Left Foot celebrates the nurturing, healing power of the family unit while avoiding every cliche about the disabled. [2 Feb 1990, p.C]
    • Chicago Tribune
    • 91 Metascore
    • 100 Gene Siskel
    This is a sumptuous work, from its unconventional title sequence of a woman dancing hard in the streets to its provocative ending with conflicting quotes from Malcolm X and Martin Luther King Jr .[30 June 1989, Friday, p.A]
    • Chicago Tribune
    • 85 Metascore
    • 100 Gene Siskel
    The fans of their best work -- "Blood Simple, "Raising Arizona," "Barton Fink" -- now can add Fargo to the list, pushing the Coens to the first rank of contemporary American filmmakers. [8 March 1996, Friday, p.B]
    • Chicago Tribune
    • 91 Metascore
    • 100 Gene Siskel
    I have written elsewhere that love stories seem to be in short supply these days, as they have been in the last decade of American movies. . . . But the hunger for love on the screen is there, and director Spielberg gives it to us in "E.T.," and because the lovers are a little boy and a little creature, we accept it. Of such simple concepts, timeless entertainments are made.
    • 58 Metascore
    • 88 Gene Siskel
    For its first hour is as exciting an action picture as the Die Hard films. The tension and humor level tail off a bit toward the conclusion, but Steven Seagal and Chicago director Andy Davis clearly declare themselves as top-flight talent.
    • 80 Metascore
    • 88 Gene Siskel
    Dafoe manages to draw us into the mystery, anguish and joy of the holy life. This is anything but another one of those boring biblical costume epics. There is genuine challenge and hope in this movie. [12 Aug 1988, p.A]
    • Chicago Tribune
    • 63 Metascore
    • 88 Gene Siskel
    A thoroughly enjoyable Raiders of the Lost Ark inspired adventure film, set in the present and starring Michael Douglas as an American hustler in Columbia who helps uptight romance novelist Kathleen Turner search for buried treasure. [22 June 1984, p.12]
    • Chicago Tribune
    • 66 Metascore
    • 88 Gene Siskel
    John Badham's exciting thriller about an L.A. detective (Roy Scheider) who battles against the government creeps who have created a monstrous helicopter to be used for 1984-style crowd control. Great action in a David-versus-Goliath story. [22 July 1983, p.10]
    • Chicago Tribune
    • 42 Metascore
    • 88 Gene Siskel
    Whereas Stallone with "Rambo" is messing around with real places and real events, in Rocky IV we all know that this is pure Hollywood, pure fantasy. And very well made Hollywood fantasy, indeed.
    • 82 Metascore
    • 88 Gene Siskel
    Ron Howard's first-rate dramatic comedy Parenthood, with Steve Martin headlining a first-rate cast in a most clever script about the joy and pain of being both a parent and a child. [4 Aug 1989, p.A]
    • Chicago Tribune
    • 71 Metascore
    • 88 Gene Siskel
    A smart, funny and hip adventure film in a summer of car wrecks and explosions. [4 July 1997]
    • Chicago Tribune
    • 76 Metascore
    • 88 Gene Siskel
    Witness" is both exciting and thoughtful.... And just as important to moviegoers, Witness is a genuinely gripping thriller. [08 Feb 1985]
    • Chicago Tribune
    • 78 Metascore
    • 88 Gene Siskel
    Ruthless People contains some of the biggest laughs of 1986.
    • 77 Metascore
    • 88 Gene Siskel
    The film's strength is director Jim McBride's seemingly easy way of presenting us with a New Orleans that is more malevolent and intoxicating than the tourist trap that some think it to be.
    • 68 Metascore
    • 88 Gene Siskel
    Gary Busey, Robbie Robertson, and Jodi Foster star in a romantic triangle about some carnival sharpies and a runaway girl. A beautiful portrait of the carnival as an American institution. [18 July 1980, p.8]
    • Chicago Tribune
    • 68 Metascore
    • 88 Gene Siskel
    An upbeat, thoroughly entertaining street film about an entertainment revolution in the depressed South Bronx, featuring break dancing, graffiti art and record mixing. A black and Puerto Rican version of Saturday Night Fever. [08 June 1984, p.12]
    • Chicago Tribune
    • 73 Metascore
    • 88 Gene Siskel
    Griffith gives the fullest performance of her career; Weaver, the most likable, even though she's the villain of the piece. Michael Nichols directs his best film in years. [23 Dec 1988, Friday, p.A]
    • Chicago Tribune
    • 64 Metascore
    • 88 Gene Siskel
    Greenaway is a unique filmmaker in that he layers images upon one another in a single frame and doesn't require dialogue to make his films arresting. [18 Jul 1997]
    • Chicago Tribune
    • 87 Metascore
    • 88 Gene Siskel
    Even more enjoyable than the original. [19 June 1981]
    • Chicago Tribune
    • 64 Metascore
    • 88 Gene Siskel
    A charming, adult-oriented saga of the famous cartoon character that comes alive only when Popeye finds his baby, Swee'pea. [19 Dec 1980, p.10]
    • Chicago Tribune
    • 72 Metascore
    • 88 Gene Siskel
    A three-hour delight… The movie generates much of its power by being so life-affirming at a time when people feel nervous about the future. [9 Nov 1990, Friday, p.C]
    • Chicago Tribune
    • 71 Metascore
    • 88 Gene Siskel
    Mad Dog and Glory was directed by John McNaughton, who wisely lets many scenes run to the point of being uncomfortable, just like his characters are with each other. Everything about this movie seems fresh. [5 Mar 1993, p.C]
    • Chicago Tribune
    • 81 Metascore
    • 88 Gene Siskel
    The songs are joyful, and the plant is a foul-mouthed wonder when it begins to talk. Director Frank Oz deserves credit for staging a musical in classic form, creating nothing less than one of the year's most entertaining films. [19 Dec 1986, p.A]
    • Chicago Tribune
    • 80 Metascore
    • 88 Gene Siskel
    This middle portion of the picture becomes dangerously preachy, but just before we and Max are bored, director Miller returns Max to his roots, a screaming chase sequence through a desertlike Australian landscape.
    • 67 Metascore
    • 88 Gene Siskel
    An engaging yarn about a wealthy kid who learns to fight his way out of trouble in a rough Chicago public school. He also learns not to believe in labels placed on people. [19 Dec 1980, p.10]
    • Chicago Tribune
    • 66 Metascore
    • 88 Gene Siskel
    Clint Eastwood's most entertaining film in years, a whimsical fable about a Wild West showman with a dream of turning his rag-tag employees into one big happy family. Great country music mixed with Eastwood's natural charm. [11 July 1980, p.8]
    • Chicago Tribune
    • 69 Metascore
    • 88 Gene Siskel
    It's the funniest new movie on town. [July 22, 1983]
    • Chicago Tribune
    • 86 Metascore
    • 88 Gene Siskel
    The Murder of Fred Hampton is a remarkable film in many ways. It keeps alive an incident which has become a symbol of repression to a lot of people.
    • 77 Metascore
    • 88 Gene Siskel
    One minute into Saturday Night Fever you know this picture is onto something, that it knows what it's talking about. [15 Oct 1999, Siskel Years, p.6]
    • Chicago Tribune
    • 78 Metascore
    • 88 Gene Siskel
    William L. Petersen (''To Live and Die in L.A.”) gives another mesmerizing, seeming nonperformance as the brilliant agent on the trail of a serial killer who has murdered families in the South. [29 Aug 1986]
    • Chicago Tribune
    • 71 Metascore
    • 88 Gene Siskel
    Ghostbusters is a hoot. It's Murray's picture, and in a triumph of mind over matter, he blows away the film's boring special effects with his one-liners. Spotting a lusty, totally transformed, fire-breathing Slgourney Weaver, whose body has been overtaken by a spirit, Murray walks past her saying, "That's a new look for you, isn't it?" Thank you, Bill. And don't get outta here, you knucklehead. We like you in this kind of movie.
    • 78 Metascore
    • 88 Gene Siskel
    Don't see Halloween in an empty theater on a weekday afternoon. See it on a weekend night in a packed house. Halloween is a film to be enjoyed with a boisterous crowd; it's an "audience picture," a film designed to get specific reactions from an audience at specific moments. With Halloween, the most often desired reaction is screaming. It's a beautifully made thriller -- more shocking than bloody -- that will have you screaming with regularity. Halloween was directed by John Carpenter, 30, a natural filmmaker and a name worth remembering. [22 Nov 1978]
    • Chicago Tribune
    • 73 Metascore
    • 88 Gene Siskel
    Based on a true story, the movie has a hypnotic, documentary like appeal despite outlandish performances by Crispin Glover as the ringleader of the kids and Dennis Hopper as a wacked-out former hippie who offers them shelter. River's Edge is challenging to watch if only because it doesn't lecture. It simply presents these young people as wandering, stoned souls; shows a few of them grappling with moral responsibility, and allows the rest to fail. As we leave the theater, we can't help but wonder how common their behavior may be.
    • 76 Metascore
    • 88 Gene Siskel
    One powerful, mesmerizing thriller, a masterful exercise in controlling an audience's attention. [19 September 1986, Friday, p.A]
    • Chicago Tribune
    • 47 Metascore
    • 88 Gene Siskel
    It's a sweet, oft-told story, and Murphy and Hall add a number of very sharp supporting roles-hidden by makeup-to add spice to the general level of gentleness. [1 Jul 1988, p.A]
    • Chicago Tribune
    • 74 Metascore
    • 88 Gene Siskel
    Perfect for family viewing.
    • 79 Metascore
    • 88 Gene Siskel
    There is no question that this film is flawed by the inclusion of the party scene and Ratzo's dream, but I cannot recall a more marvelous pair of acting performances in any one film. Dustin Hoffman deserves the Oscar for a role that is prickly on the outside, but tender on the inside.
    • 86 Metascore
    • 88 Gene Siskel
    Huston gives one of her very best performances as a strong lady who can con almost everyone but herself. Her manner on the screen in this picture and in Woody Allen's "Crimes and Misdemeanors'' marks Huston as the one contemporary actress who comes closest to having the power of classic female dramatic stars of years past. [25 Jan 1991]
    • Chicago Tribune
    • 81 Metascore
    • 88 Gene Siskel
    A better film about love delayed than "Sleepless in Seattle." It's funnier, more credible, more bittersweet and the characters are a whole lot brighter. Naturally, it won't be as big a hit. [18 March 1994, Friday, p.C]
    • Chicago Tribune
    • 77 Metascore
    • 88 Gene Siskel
    A thoroughly entertaining thriller about a teenage video game freak who almost starts World War III. A clever warning against nuclear weapons and too much reliance on computers. Only a preachy scientist hurts a fine entertainment. [22 July 1983, p.3-10]
    • Chicago Tribune
    • 56 Metascore
    • 88 Gene Siskel
    Jack Nicholson's impressive, convoluted and moody sequel to Chinatown. [10 Aug 1990]
    • Chicago Tribune
    • 76 Metascore
    • 88 Gene Siskel
    Albert Brooks is one of the few, maybe the only, comic filmmakers making movies today with laughs that hurt. A very funny--and therefore neurotic--young man, Brooks places himself in all sorts of contemporary situations in his movies, situations that force him to whine like a baby to get what he wants. He's the filmmaker for the Baby Boom generation.
    • 74 Metascore
    • 88 Gene Siskel
    Natural Born Killers is visually complex and thematically simple. Mixing film and video, black-and-white and color, morphing and animation, Stone breaks visual ground here for a major studio release. [26 Aug 1994, p.B]
    • Chicago Tribune
    • 61 Metascore
    • 88 Gene Siskel
    The best teenage comedy since last year's "Risky Business."
    • 79 Metascore
    • 88 Gene Siskel
    Ethics aside, the filmmaking by DePalma is stylish and alternates between shocking surprise and hold-your-breath quiet.
    • 46 Metascore
    • 88 Gene Siskel
    Where the previous sequels have been mostly dour gun blasts, The Dead Pool is a thriller with wit and humor and tension. [15 Jul 1988, p.A]
    • Chicago Tribune
    • 92 Metascore
    • 88 Gene Siskel
    Star Wars is not a great movie in the sense that it describes the human condition. It simply is a fun picture that will appeal to those who enjoy Buck Rogers-style adventures. What places it a sizable cut about the routine is its spectacular visual effects, the best since Stanley Kubrick's "2001." [27 May 1977]
    • Chicago Tribune
    • 68 Metascore
    • 88 Gene Siskel
    Fletch is more than funny; it's funny and exciting.[31 May 1985, p.A]
    • Chicago Tribune
    • 72 Metascore
    • 88 Gene Siskel
    JFK
    Does JFK capture the truth? Possibly, in a poetic sense. Is it a compelling film? Most assuredly. [20 Dec 1991]
    • Chicago Tribune
    • 51 Metascore
    • 75 Gene Siskel
    Rachael Leigh Cook, as Laney, the plain Jane object of the makeover, is forced to demonstrate the biggest emotional range as a character, and she is equal to the assignment. I look forward to seeing her in her next picture. [29 Jan 1999, p.A]
    • Chicago Tribune
    • 60 Metascore
    • 75 Gene Siskel
    Days of Thunder, the latest Tom Cruise movie, which is a flimsy but nonetheless compelling story of a hot-shot amateur race car driver who wants to make it in the big-time world of championship stock car racing. Good writing by Robert Towne and a host of strong supporting performances complement the on-the-track visuals of director Tony Scott in giving us a sense of the leap of faith that is required by drivers at this level. [29 Jun 1990, p.C]
    • Chicago Tribune
    • 68 Metascore
    • 75 Gene Siskel
    A heavy, effective dramatization of the effects of the Soweto Uprising of 1976 on a white South African teacher (Donald Sutherland) whose black gardener is murdered by police. This film is unblinking in its depiction of the most violent side of apartheid. Marlon Brando lightens the drama with a colorful cameo as the lawyer hired by Sutherland to combat the state.
    • 79 Metascore
    • 75 Gene Siskel
    A refreshing if obvious drama. [9 June 1989, Friday, p.A]
    • Chicago Tribune
    • 49 Metascore
    • 75 Gene Siskel
    Far and Away, a mildly old-fashioned romantic melodrama that has as many charming moments as embarrassing ones. Much of the charm is supplied by the earnest performances of Tom Cruise and Nicole Kidman. [22 May 1992]
    • Chicago Tribune
    • 49 Metascore
    • 75 Gene Siskel
    This film works so well simply because every moment of it is suffused with the joy a new baby brings into the world. Save for a needlessly mean comic shot at an Arab businessman, it couldn't be more appropriate for family viewing. [8 Dec 1995, p.D]
    • Chicago Tribune
    • 78 Metascore
    • 75 Gene Siskel
    The beautifully told but predictable story of two athletes who competed in the 100-meter dash for England in the 1924 Olympics...The film has received choruses of praise prior to its nationwide opening this week. Although it is extremely well made, I frankly don't understand what the shouting is about. Good, yes; great, no. [25 Dec 1981, p.56]
    • 68 Metascore
    • 75 Gene Siskel
    Our rooting interest is not for any macho act by Batman to save the city but for each character to achive some sort of emotional peace. That makes for a strange but refreshing action story.
    • 78 Metascore
    • 75 Gene Siskel
    A sometimes silly, occasionally hilarious, and often sophomoric spoof of airline disaster films in which a passenger tries to land a disabled plane. Some of the jokes are tasteless, but there is a general air of good cheer as the script laughs most of all at the already laughable "Airport" movie series. [11 July 1980, p.3-8]
    • Chicago Tribune
    • 70 Metascore
    • 75 Gene Siskel
    Though the film resorts to a hackneyed ending, what goes on before is modest but effective terror. [07 Apr 1989, p.A]
    • Chicago Tribune
    • 65 Metascore
    • 75 Gene Siskel
    But the bottom line is that The Naked Gun 2 1/2 is very funny about such plastic themes as a Barbara Bush look-alike taking a pratfall at a dinner table. [28 June 1991]
    • Chicago Tribune
    • 48 Metascore
    • 75 Gene Siskel
    Caddyshack has a low-budget look that warmly welcomes the all-important teenage audience. It looks like a film they could have made. And everyone associated with the film—in front of and behind the camera—is aware that he or she is making a frivolous film...That's why Rodney Dangerfield's cornball jokes and spritzing barbs are so perfectly right for the film. These are throwaway jokes for a most disposable motion picture, the kind of film that drive-ins were designed to play.
    • 71 Metascore
    • 75 Gene Siskel
    F/X
    F/X turns into a dazzling series of deceptions that border on being so topsy-turvy that one almost becomes frustrated with being fooled. But the script of Robert T. Megginson and Gregory Fleeman managed to stay on the right side of credibility and good humor enough of the time so that some rather obvious plot holes can be forgiven.
    • 60 Metascore
    • 75 Gene Siskel
    As entertaining as The Goonies finally becomes--and its last hour is mostly one pleasure after another--it's a shame that Spielberg, writer Chris Columbus and director Richard Donner felt the need to take the low road in terms of language. [7 Jun 1985, p.A]
    • Chicago Tribune
    • 65 Metascore
    • 75 Gene Siskel
    What no plot summary of Darkman can provide is how much director Raimi ("The Evil Dead") brings to the party. In addition to giving us a conflicted hero - more disturbed than Batman - Raimi fills every action sequence and even routine plot scenes with fresh images that reflect his Darkman's rage. [24 Aug. 1990]
    • Chicago Tribune
    • 65 Metascore
    • 75 Gene Siskel
    My only major criticism of Cocoon is the ending, which needlessly places the film in familiar extraterrestrial movie territory. Without giving too much away, either most of the characters should have made a different decision or the film should have had courage to jump off into a completely different direction. Special visual effects are wonderful, but the human being is still the greatest special effect of all.
    • 86 Metascore
    • 75 Gene Siskel
    What this movie is about, and where it succeeds best, is the primordial level of fear. The characters, for the most part, and the non-fish elements in the story, are comparatively weak and not believable. [20 June 1975]
    • 59 Metascore
    • 75 Gene Siskel
    A pleasing but overlong version of the Rocky story told through the character of a put-upon young high school student who learns karate from an old Japanese master to vanquish the local school bullies. There is no reason this simple story should run 2 hours and 10 minutes. Such a running time strains the good will generated by a cast full of likable performances. [22 June 1984, p.12]
    • Chicago Tribune
    • 64 Metascore
    • 75 Gene Siskel
    Chuck Norris takes a big leap in his film career with Code of Silence, a solid cops 'n' drug dealers picture filmed last year in Chicago. Norris' big step is that this time he stars in a much more realistic action film, one with a credibility only slightly undone by a few of his martial arts maneuvers at the end.
    • 55 Metascore
    • 75 Gene Siskel
    Part III has the more adult emotions of the original, and with the presence of Steenburgen it recalls the quality of her other fine time-travel romance, "Time After Time." [25 May 1990, p.C]
    • Chicago Tribune
    • 56 Metascore
    • 75 Gene Siskel
    Richard Pryor is a scream as a wrongly accused bank robber. Gene Wilder is just so-so as his partner. [19 June 1981]
    • Chicago Tribune

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