Chicago Reader's Scores

  • Movies
For 5,047 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:
5047 movie reviews
  1. It's full of scenic splendors with a fine sense of scale, but its narrative thrust seems relatively pro forma, and I was bored by the battle scenes.
  2. This is a masterwork by Ousmane Sembene, the 81-year-old father of African cinema and one of Senegal's greatest novelists.
  3. Exciting not as ethnography but as storytelling, as drama, and as filmmaking.
  4. Though it comes across as labored in spots, it also yields a good many beautiful and suggestive moments, and an overall film experience of striking originality.
  5. Though marred by Spielberg's usual carelessness with narrative points, the film alternates sweetness and sarcasm with enough rhetorical sophistication to be fairly irresistible.
  6. Sly, inventively drawn, brilliantly executed cartoon.
  7. Key action points are edited with finesse, but the denouement, with its dutiful hail of gunfire, is heartless and mechanical.
  8. Helen Mirren's flinty performance as Elizabeth II is getting all the attention, but equally impressive is Peter Morgan's insightful script for this UK drama, which quietly teases out the social, political, and historical implications of the 1997 death of Diana, Princess of Wales.
  9. Roman Polanski's first film in English (1965, 105 min.) is still his scariest and most disturbing--not only for its evocations of sexual panic, but also because his masterful employment of sound puts the audience's imagination to work in numerous ways...As narrative this works only part of the time, and as case study it may occasionally seem too pat, but as subjective nightmare it's a stunning piece of filmmaking.
  10. This 1985 film's absolute freedom from cliches is genuinely refreshing; looking at it again after Van Sant's subsequent "Drugstore Cowboy," I found it every bit as good and in some ways even more impressive than the later film. It shouldn't be missed.
  11. Peter Yates, previously typed as an action director (Bullitt, The Deep), lends the film a fine, unexpected limpidity, and the principals are mostly excellent.
  12. This is a powerful and persuasive look at an ethnic community and what makes it tick.
  13. Masterpiece.
  14. Animation may be the ideal medium for replicating dreams, and in this unsettling feature by Ari Folman it also proves well suited to autobiography.
  15. The acting is so strong--with Spall a particular standout--that you're carried along as by a tidal wave.
  16. Patton's personality--conveyed with pointed theatrical flair by George C. Scott--is registered in rich tones of grandeur and megalomania, genius and petty sadism.
  17. A very well-made genre exercise, but I can’t understand why it’s been accorded so much importance, unless it’s because it strokes some ideological impulse.
  18. Martin Scorsese transforms a debilitating convention of 80s comedy--absurd underreaction to increasingly bizarre and threatening situations--into a rich, wincingly funny metaphysical farce. A lonely computer programmer is lured from the workday security of midtown Manhattan to an expressionistic late-night SoHo by the vague promise of casual sex with a mysterious blond.
  19. An adroit piece of storytelling from Irish writer-director Neil Jordan that's ultimately less challenging to conventional notions about race and sexuality than it may at first seem... The three leads are first-rate.
  20. Winter's Bone often seems to be unfolding in a world apart, with its own moral logic and codes of conduct. It might feel like prison if it weren't so obviously home.
  21. This movie restores genre elements to a level of potency that's disturbing, satisfying, and rare as hell.
  22. Better in certain ways than the original "Apocalypse Now," though the flaws are also magnified.
    • 90 Metascore
    • 90 Critic Score
    The movie's searing conclusion left me numb and overwhelmed.
  23. Though ordained from the beginning, the three-way showdown that climaxes the film is tense and thoroughly astonishing.
  24. A film so rich in ideas it hardly knows where to turn. Transcendent themes of love and death are fused with a pop-culture sensibility and played out against a midwestern background, which is breathtaking both in its sweep and in its banality.
  25. Nothing that suggests an independent vision, unless you count seeing more limbs blown off than usual.
  26. Tarkovsky's eerie mystic parable is given substance by the filmmaker's boldly original grasp of film language and the remarkable performances by all the principals.
  27. The power and reach of this undertaking are formidable.
    • 90 Metascore
    • 90 Critic Score
    Aquatic joyride.
  28. Thoroughly researched, unobtrusively upholstered, this beautifully assured entertainment about Victorian England is a string of delights.

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