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 One False Move
Lowest review score: 0 I Spit on Your Grave
Score distribution:
  1. Negative: 29 out of 219
219 movie reviews
    • 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
    • 87 Metascore
    • 100 Gene Siskel
    Wonderful performances by Donald Sutherland, Mary Tyler Moore, and Timothy Hutton. [19 Dec 1980, p.2-10]
    • 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.
    • 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
    • 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
    • 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
    • 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
    • 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
    • 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
    • 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
    • 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
    • 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
    • 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
    • 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
    • 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
    • 56 Metascore
    • 88 Gene Siskel
    Jack Nicholson's impressive, convoluted and moody sequel to Chinatown. [10 Aug 1990]
    • 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
    • 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
    • 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
    • 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
    • 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
    • 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
    • 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.
    • 79 Metascore
    • 88 Gene Siskel
    Ethics aside, the filmmaking by DePalma is stylish and alternates between shocking surprise and hold-your-breath quiet.
    • 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.
    • 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.
    • 61 Metascore
    • 88 Gene Siskel
    The best teenage comedy since last year's "Risky Business."

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