Chicago Reader's Scores

  • Movies
For 4,911 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 3.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 58
Highest review score: 100 Rushmore
Lowest review score: 0 Good Luck Chuck
Score distribution:
4,911 movie reviews
  1. The whole thing is pretty stupid, but Angus Macfadyen is watchable as the villain.
  2. Sorry deep-sea adventure.
  3. The film reveals its true colors at the end, with a plug for the New Age dude ranch the entrepreneurial couple has since established in Texas.
  4. The message must have got lost somewhere in the plot twists of this would-be topical thriller about the power of hearsay on a college campus.
  5. As an actor Austin is still a lightweight, but Rick Hoffman (Hostel) fleshes out a recognizable character.
  6. Caruso and Spielberg probably thought they were reviving the paranoid style of 70s political thrillers, but their story is so implausible it barely provokes a tremor.
  7. Travels fast and straight down a linear plot, and the ceaseless rush quickly becomes monotonous.
  8. The special effects are better and the dialogue slightly more humorous than in the first movie, but the anti-Arab subtext is repugnant.
  9. An almost comically lurid tale of a little boy abused by his malignant hooker mother, malignant fundamentalist grandfather, and malignant surrogate dads.
  10. Inexplicably, Butler continues to get work in romantic comedies despite his limited range and boorish persona.
  11. Excruciatingly narcissistic.
  12. Even the revelation of what the fifth element is at the end is disingenuous--in fact, the archness of this whole project is repellent.
  13. Shelved for over a year, this incompetent mystery thriller stops periodically so some character or other can deliver an expository speech and pull the plot back on track, but by the end the story has turned into a hair ball.
    • 54 Metascore
    • 30 Critic Score
    The music could have been better in this spineless drama, which has several angles but no perspective.
  14. If you can make any sense of this you've probably been smoking whatever the animators were when they concocted it.
  15. Based on this outing, writer-director Joe Carnahan (Narc) can't tell a story worth a damn--especially not a complicated mishmash like this one.
  16. This interminable contest between two narcissists, stretched out over many miles and years, is supposed to have something to do with romance.
  17. The movie is humorless and monotonous, but watching the talented Sheen (Frost/Nixon, The Queen) give his all to such throwaway material is weirdly diverting.
  18. A ragbag of shopworn ideas nicked from Philip K. Dick, this sci-fi thriller never stops finding new ways to make no sense.
  19. This Farrelly brothers "hommage" replicates the mechanics of their work without echoing its spirit or complex tone, and many of the deliberate offenses fail to transcend mere exploitation.
  20. Equally as offensive as the movie's smorgasbord of smut and violence is the lingering whiff of colonial-era orientalism, a Western predilection for regarding Eastern cultures as innately idle, lascivious, and irrational, and thus ripe for intervention.
  21. It's pretty perverse for William Wheeler, who scripted this feature, to get most of the facts wrong, inflating details that don't need any spin. (As Irving himself remarked, "You could call it a hoax about a hoax.")
  22. As creator and head writer of "The West Wing," Aaron Sorkin had a gift for making policy debate seem sexy, but what worked in the context of that liberal fantasy founders badly amid the realpolitik of this cold war drama.
    • 18 Metascore
    • 30 Critic Score
    Almost competent but not quite watchable.
  23. Jules Verne's novel has been flattened into a standardized Jackie Chan vehicle.
  24. Like an idiot, I came to this movie hoping that director Catherine Hardwicke-who made her debut with the bad-girl shocker "Thirteen" (2003)-might engage in a feminist interrogation of the old fairy tale, just as French filmmaker Catherine Breillat has with "Blue Beard" (2009) and "The Sleeping Beauty" (2010). Instead this is a muddle-headed horror flick.
  25. A story that holds little suspense; we know exactly how happily this animated musical will end--and the wait isn't very diverting.
  26. Even Herzog loyalists will have to concede that this fact-based 2009 hostage drama is a serious dud.
  27. It's an utter waste of Watts; there's not a trace here of the talent on display in Mulholland Drive, perhaps because the script doesn't bother to give her a character.
  28. This drama, about the three days leading up to the murder, never overcomes its inherent ghoulishness, largely because Chapman, like so many mentally ill people, is a huge bore.

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