Chicago Reader's Scores

  • Movies
For 4,934 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: 58
Highest review score: 100 Bamako
Lowest review score: 0 Enough
Score distribution:
4934 movie reviews
  1. At least (John) Waters cares about most of his freaks; for Lynch they're basically exploitation fodder for a puritanical "dark vision of the universe" that seems to come straight out of junior high, complete with giggles.
  2. A festival favorite in 1992, this flamboyant Australian crowd pleaser and first feature by Baz Luhrmann ("Moulin Rouge") struck me then as one of the more horrific and unpleasant movies I'd seen in quite some time.
  3. A promotional tool that establishes its superfluousness simply by existing, this clumsy, smirking movie has a bitter soul.
  4. Not particularly sensitive or funny comedy-drama.
  5. Ill conceived or badly handled.
  6. Corrupt warden, sadistic guards, new inmate debauched by her surroundings, prison-break hostage drama--could have come straight from an old George Raft vehicle.
  7. This is gold-plated navel gazing in the worst 60s style.
  8. A very bad film--snide, barely competent, and overdrawn--that enjoys a perennial popularity, perhaps because its confused moral position appeals to the secret Nietzscheans within us.
  9. This is mostly a listless hodgepodge of half-improvised whatever, the seven lead characters so flatly conceived they're like the Keystone Kops (without the chops).
  10. Isn't absurd enough to be funny.
  11. Full of odd notions and interludes, the movie never really comes together, but fitfully suggests a cross between Boys Town and Greaser's Palace.
  12. The best thing I can say about this limp prequel to the Farrelly brothers' Dumb & Dumber is that it obliged me to check out the original, which I'd been studiously avoiding for years. If you haven't seen it, it's pretty funny, and mercifully light on the scatology and cheap sentiment of later Farrelly efforts.
  13. At least it has the decency not to pretend it's aspiring any higher than the toilet.
  14. The result is an insufferable academic cocktail party of declamatory speeches coaxed to life in its middle stretch by the incredible Maria Bello, who wades in like a paramedic at a disaster scene.
  15. A real air ball, this lethargic drama by Preston A. Whitmore II is so poorly scripted that most of the major plot developments occur offscreen.
  16. Every joke is stretched to the breaking point, and no one seems to be having any fun.
  17. After making their two best features to date, "Fargo" and "The Big Lebowski," the Coen brothers have surely come up with their worst.
  18. Seems more theatrical than cinematic, needing the kind of direct address that only a stage can provide.
  19. Jamal (Martin Lawrence), starts trying to make the best of a bad situation, which becomes our job too.
  20. Excruciatingly earnest yet convictionless movie.
  21. An exceptionally feeble entry whose ideas, visual and otherwise, consist of hand-me-downs from 2001, Star Wars, Blade Runner, and Superman III, and whose special effects, despite the hefty budget, look strictly bargain basement.
  22. Ugly Americans in Paris have run-ins with the native werewolf culture in this horror-for-laughs story, in which the characters' stupidity and the deadpan acting are out of sync--instead of being campy or clever, the plot and performances are just unconvincing.
  23. The plot is astoundingly senseless.
  24. JFK
    Stone's all-purpose conspiracy theory, built like a house of cards, rivals "Mississippi Burning" in its sheer crudeness and contempt for the audience.
  25. The glorification of the FBI, the obfuscation about Jim Crow laws, and the absurd melodramatics may all have been well-intentioned, but the understanding about the past and the present of racism that emerges is depressingly thin.
  26. Poorly paced action comedy.
  27. Stylish but insubstantial thriller .
  28. The labored storytelling in this movie about displaced ambition diminishes the impact of the powerful performances.
  29. I can think of only one bit of Tin Cup that's beautiful, imaginative, and different, and it lasts for only a few seconds: a speech delivered by Russo, before her character is transformed into the standard-issue cheerleader, is broken into fragments by jump cuts.
  30. This is thoughtful nihilist provocation at best.

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