Chicago Reader's Scores

  • Movies
For 5,262 reviews, this publication has graded:
  • 42% higher than the average critic
  • 2% same as the average critic
  • 56% lower than the average critic
On average, this publication grades 4.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Hero
Lowest review score: 0 Old Dogs
Score distribution:
5262 movie reviews
  1. Ritchie may be skilled at generating controlled chaos, but his surprise-a-minute strategy ultimately holds no surprises; Snatch is even more frenetically boring than his 1999 "Lock, Stock and Two Smoking Barrels."
  2. Most of the action in this 2001 indie drama takes place on computer screens, with grainy faces framed by sharp little boxes; the 21st-century conceit is topical enough but the characters and their problems couldn't be more stale.
  3. Director Paul Morrison forfeits any meaningful statement about art for a pedestrian coming-out story, based in part on Dali's unreliable, self-aggrandizing memoirs.
  4. The result, messily directed by Jimmy Hayward, begins affably enough as a random slew of Leone-style squint-a-thons and shoot-outs but then loses it way in a dopey, anachronism-happy sci-fi plot.
  5. Too slavish in its devotion to 50s sci-fi conventions to work as parody or camp, this indie comedy by "The X-Files" alumnus R.W. Goodwin sinks under the weight of its homage.
  6. Loud, shiny, and critic-proof, this franchise launcher is basically Transformers minus the humanity. Dennis Quaid provides some ballast as grizzled patriarch to the troop of sexy young lock-and-loaders.
    • 16 Metascore
    • 30 Critic Score
    Writer-producer Paul Kimatian was once a still photographer for Martin Scorsese, who reportedly encouraged him to write this Italian-American soap opera. Given its tired dialogue, predictable situations, and vicious street fighting, Scorsese may wish he'd kept his mouth shut.
  7. Exploits all the cliches about shrewish women and pussy-whipped men without achieving satire.
  8. Although their love is undeniably a blessing, I was disconcerted watching the elderly couple smile and chuckle today as they recall their daily letters and secret meetings in the midst of such wide-scale death.
  9. Cowriters Luc Besson and Robert Mark Kamen (Gladiator) saddle Neeson with indigestible dialogue and preposterous situations.
  10. Tedious mockumentary.
  11. Compels questions about Kinski's bravado and artistry, and suggests that it might not always be easy to distinguish his from Herzog's.
  12. This comedy-thriller that has no particular motive for changing tones.
  13. The movie occasionally makes an unexpectereference -- though with more desperation than wit.
  14. The premise of this neither dark nor funny movie--which wants to be both--is that it's somehow ironic when wealthy characters are motivated by greed.
  15. Humorless, lugubrious, and interminable.
  16. The movie offers an insulting "let them eat cake" gesture toward the 1982 audience, but the pacing is so ragged and the characters so lifeless that few will be able to stay awake long enough to feel offended
  17. The protracted shoot-out at the end of Dear Wendy is even more pornographic than the moment when a female member of the Dandies exposes her breasts. The audience is clearly expected to enjoy the bloodbath even while it disapproves.
  18. The thin story covering her acquisition of one wave after another while narrowly escaping death time and again is strictly for player one.
    • 52 Metascore
    • 30 Critic Score
    Aesthetically, Insidious operates at the level of a decent high school video project.
  19. The plot of this character-driven drama is slender and the digital images rather muddy--apparently an impoverished indie feature can look bad and still not be very interesting--but to his credit, Thelemaque sticks to his minimalist turf. And the dogs are great.
  20. Jarhead virtually begins with a rip-off of the basic-training sequence that opens Stanley Kubrick's "Full Metal Jacket."
  21. Conveys little sense of a connection, as if di Florio had made it mainly because she had access to a celebrity.
  22. The story unfolds briskly in the polished mode of a classic horror movie, then tanks after a plot twist at the midpoint alters the mood and slows the pace. Jim Sheridan (My Left Foot, In the Name of the Father) directed an ill-conceived screenplay that could have worked only as camp.
  23. Poorly acted, over-the-top, and generally out-of-control bloodbath.
  24. Josh Duhamel plays the smitten sports reporter who helps her mount her big art show, "Pain"--a fitting title, given the agony induced by this godawful comedy.
  25. Valueless as entertainment, it’s still useful as a disambiguation tool for those who confuse Jessica Alba and Jessica Biel, or Taylor Dayne and Taylor Swift.
  26. The wit is too weak to sustain a film, and the songs all sound the same.
  27. Dumb.
  28. By the time Gooding showed up for one of his assignments disguised as a call girl, even "Boat Trip" looked good to me.

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