Chicago Reader's Scores

  • Movies
For 5,044 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 4.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Blade Runner
Lowest review score: 0 Bratz
Score distribution:
5044 movie reviews
  1. The Rube Goldberg variations are repetitive and devoid of the visual snap that helped distinguish James Wong’s "Final Destination" (2000).
  2. Generally I don’t mind a little recreational fascism as long as it’s deep-fried in savory violent vengeance, but this overwrought mess gives vigilantism a bad name.
  3. It's a victory of tone over storytelling, though perhaps a Pyrrhic one.
  4. I'm guessing Donald Sutherland agreed to do this tedious horror flick because he heard Sissy Spacek was on board, and Spacek agreed to do it because she heard Sutherland was on board.
  5. Alexa Vega, having graduated from the "Spy Kids" franchise, seems too poised to be vulnerable but too young for all her makeup.
  6. Just when you thought camp was dead, along comes this bizarre cross between a Tarantino knockoff and a Hammer horror film.
  7. Cringe-inducing when it's not cliched, this brassy, vulgar 2008 comedy from Australia mines mental disabilities for laughs.
  8. Allen Coulter (Hollywoodland) directed this morose and sluggish drama, which gets more mileage from Pattinson's anguished profile than from Will Fetters's thunderously overwritten screenplay.
  9. Initially this struck me as something you'd take your grandmother to see, but by the end it seemed more like something your grandmother would take her grandmother to see.
  10. Smirky, gum-in-your-hair humor dominates this dreadful 2005 feature.
  11. Proves that the Disney people can sell just about anything--including a misogynistic celebration of big business and prostitution.
    • 51 Metascore
    • 30 Critic Score
    A pretentious, unfocused, and fussy mess, in which director Darren Aronofsky manages to make Hugh Jackman unattractive and unsympathetic… Even fans of Aronofsky's incoherent, flashy “Pi” and somewhat more coherent, flashy “Requiem for a Dream” will be scratching their heads.
  12. Hughes invokes the classical unities of time, place, and plot symmetry, yet he trashes his careful structure every time he needs a gag - destroying the integrity of his characters, shattering the plausibility of his situations.
  13. Absolutely nothing funny happens during their drive to Georgetown for an interview, even with Donny Osmond along for the ride.
  14. A dearth of game footage and a wealth of inspirational platitudes contribute to the sense of a powerful tale having already faded into yellowed newspaper clippings.
  15. Despite the 138-minute running time, Temple holds all the artists to one song (or less), devoting about half the movie to kaleidoscopic--and ultimately wearying--montage of festivalgoers past and present.
  16. A blandly twisting plot with no meaningful revelations or substantial themes.
  17. The thesis-driven story precludes much dramatic discovery, and the looming shuttle disaster only exacerbates the sense of heavy-handedness.
    • 38 Metascore
    • 30 Critic Score
    This frantic sequel finds the diaper-obsessed heroes and their foolish parents marooned on a desert island, where they encounter the family from a more charming Nickelodeon cartoon.
  18. Like so many other CGI behemoths, this dull action fantasy ultimately squashes rather than inspires one's sense of wonder.
  19. Part of the idea here was to play in the ambiguous zones where Las Vegas tackiness, LSD hallucinations, Gilliam beasties, and lots of vomit become difficult to separate.
  20. The pretty-pretty visual style is evidence of a close study of Days of Heaven, as well as a complete misunderstanding of it. With Leo McKern and William Daniels; photographed by Nestor Almendros, forced into garish effects far below the level of his talent.
  21. Huyck's direction is resolutely uninvolved—every shot of every arrhythmically paced scene cries out for instant anonymity—and only Jeffrey Jones's sardonic scenery chewing as an archetypally deranged scientist keeps things marginally watchable. Lea Thompson is completely out of her element as Howard's sexpot girlfriend (though graduated, thankfully, from the treacly virginality of SpaceCamp), and as for the guy(s) in the duck suit . . . well, he/they deserve our condolences and prayers.
  22. Landis never bothers to account for the friendship that springs up spontaneously between these two antipathetic types, but then he never bothers to account for anything in this loose progression of recycled Abbott and Costello riffs and fumbled Strangelovean satire.
  23. This 1998 sequel seems almost deliberately designed to disappoint--our enjoyment is supposed to lie in making fun of the obvious red herrings, contrived opportunities to show cleavage, melodramatic dialogue, gullible characters, and inevitable to-be-continued ending.
  24. The most obnoxious case of masculine swagger since Andrew Dice Clay, with just a tad of Paul Lynde thrown in for spice, Jim Carrey defies you not to bolt for the exit while playing the title hero in this 1994 comic mystery.
  25. None of the characters or ideas is allowed to develop beyond its cardboard profile.
  26. Imagine combining bad imitations of the "Ace Ventura" and "Austin Powers" movies and you'll have a rough idea of this feeble Dana Carvey farce.
  27. Distributors are clearly scraping the bottom of the barrel with this flimsy exposé of presidential adviser Karl Rove.
  28. Wasn't worth Allen's time and isn't worth yours.

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