For 105 reviews, this critic has graded:
  • 76% higher than the average critic
  • 0% same as the average critic
  • 24% lower than the average critic
On average, this critic grades 14.4 points higher than other critics. (0-100 point scale)

Gene Siskel's Scores

  • Movies
  • TV
Average review score: 76
Highest review score: 100 Raging Bull
Lowest review score: 0 UHF
Score distribution:
  1. Positive: 86 out of 105
  2. Negative: 13 out of 105
105 movie reviews
    • 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.
    • 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
    • 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.
    • 95 Metascore
    • 100 Gene Siskel
    Toy Story is a complete joy.
    • 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
    • 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
    • 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.
    • 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
    • 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
    • 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
    • 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."
    • 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]
    • 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.
    • 86 Metascore
    • 63 Gene Siskel
    As much as I admire the work of both (Roman) Polanski and (Jack) Nicholson, I found Chinatown tedious from beginning to just before the end. [15 July 1974]
    • Chicago Tribune
    • 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
    • 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
    • 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
    • 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.
    • 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
    • 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
    • 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
    • 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.
    • 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
    • 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
    • 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
    • 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
    • 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
    • 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
    • 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.

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