Chicago Reader's Scores

  • Movies
For 5,063 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 Kundun
Lowest review score: 0 Untraceable
Score distribution:
5063 movie reviews
  1. The picture is completely devoid of cinematic interest, adopting instead a tiresome theatrical aesthetic in which showy monologues are filmed in interminable, usually ill-chosen long takes.
  2. This insufferable romance-adventure includes vague comedy as well as unintentional humor, and its target audience seems to be preadolescents who won't notice the calculated enthusiasm with which it sidesteps sexuality.
  3. This multigenre parody is excruciatingly slow and unamusing; a go-go dancer in the opening and closing credits does as much in a few minutes to shake up our perspective on a bygone aesthetic as the entire narrative in between.
  4. I had a pretty good time with this until the end, when I felt so soiled by the filmmakers' cynicism and the characters' gratuitous viciousness that I wanted to take a bath.
  5. Saw
    Sicko horror film from Australia, whose sadism is topped only by its absurdity.
  6. Painfully unfunny.
  7. Moving in fits and starts, mawkish in its sincerity, and at times disjointed in its lumpy structure.
  8. Nearly all the SF premises are accorded the status of Andrew Dice Clay one-liners - which means that they, along with the characters, keep changing from one scene to the next.
  9. The narrative is murky and ludicrous, the action violent and nihilistic, the contemporary western ethos painfully pretentious.
  10. Brian De Palma dedicates this 1983 feature to Howard Hawks and Ben Hecht, authors of the 1932 original, though I doubt they would find much honor in his gory inflation of their crisp, 90-minute comic nightmare into a klumbering, self-important, arrhythmic downer of nearly three hours.
  11. I don't know the novel, but judging from the script by Crichton and John Patrick Shanley, this must be scraping the bottom of the Crichton barrel.
  12. Wolfgang Petersen and writer Andrew Marlowe, apparently afraid to really make fun of any American icons, challenge us to take the story straight no matter what, but the only thing this ponderous movie has going for it is its unintentional humor.
  13. Awful light drama.
  14. The elaborate climax set in a Paris bakery is the least boring part of this trained-animal movie.
  15. There is hardly any point in discussing the direction of a picture like this, in which almost every shot has been predetermined by the requirements of the special effects, yet director Richard Marquand fluffs the two or three real opportunities he has, rendering the long-delayed character climaxes with a chilly indifference.
  16. The usual Spielberg rhetoric about the sanctity of childhood and the beauty of dreams seems wholly factitious in this crass context, which even includes a commercial--in the form of a rock video--for the tie-in merchandise.
    • 51 Metascore
    • 20 Critic Score
    Screenwriters Keith Merryman and David A. Newman interweave four asinine, underdeveloped plot lines, and Tim Story's prosaic direction reduces their script to a shambolic nightmare.
  17. The grasping novelty of the visuals doesn't rival the uncharismatic leads or the hopelessly, unironically banal plot.
  18. This asthma-inducing adventure set on K2 starts out seeming as if its corny storytelling and phony-looking settings were designed to show that it's as much about genre-movie conventions as anything else.
  19. The gratuitous use of the city (New Orleans) during Mardi Gras is the least of this movie's unoriginal sins.
  20. Ludicrous revenge thriller.
    • 31 Metascore
    • 20 Critic Score
    In the hands of Preston Sturges, this could have been the basis for some snappy mordant comedy, but Stephen Herek (Mr. Holland's Opus) sees only fields of corn, winding up with one of those pseudodeep stories (e.g. American Beauty) that Hollywood takes for spiritual.
  21. By ordinary movie standards it's awful, but fans of cinematic dementia should have fun for about half an hour.
  22. Director Bruce McCulloch, an alumnus of the Canadian TV show "The Kids in the Hall," lacks the sense of scale and timing needed for a feature film, and Lee's voice-over about fate that brackets the narrative only highlights its shapelessness.
  23. Offers the same crudely effective variation on the hatred and fear of hillbillies in "Deliverance."
  24. When nostalgia, hypocrisy, and indifference to history converge in the kind of shameless Capracorn manufactured here, one can either be stupefied by the filmmakers' cynicism or fall for the package hook, line, and sinker.
  25. Directors Gerard Ungerman and Audrey Brohy don't provide much analysis, instead telling the familiar stories of the invasions of Afghanistan and Iraq.
  26. Even with the bar lowered, this seems appallingly bad, a lazy assortment of weak punch lines, sentimental music cues, and trite situations.
  27. There's so little urgency to the plot that one eventually feels not even the actors and filmmakers believe for a second in what's going on.
  28. The serious Catholic themes that made the original film genuinely disturbing have been flattened out into a cartoonish backstory.

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