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 3.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 58
Highest review score: 100 I'm the One That I Want
Lowest review score: 0 Bless the Child
Score distribution:
4,911 movie reviews
  1. The Warners-style slapstick and gentle Anglophilia charms children and adults alike, but what kills me are the fingerprint ridges that fade in and out of the characters' mugging faces, a reassuring reminder that handmade art can still captivate.
    • 87 Metascore
    • 90 Critic Score
    A virtuoso performance by Al Pacino and some expert location work by Sidney Lumet add up to a tour de force genre piece. (Review of Original Release)
  2. The depiction of her risky voyage and what happens afterward is highly suspenseful and entirely believable.
  3. Long, heavy, and not particularly edifying Holocaust drama.
  4. The film is watchable as well as informative...But I wish I had a better notion of what story he's trying to tell.
  5. There are several solid laughs and some excellent supporting performances. But this is a film to be wary of.
  6. This is the kind of tasteful tearjerker that's often overrated and smothered with prizes because it flatters our tolerance and sensitivity.
    • 87 Metascore
    • 100 Critic Score
    Makes a powerful statement about the plight of unwanted children. But it also incorporates elements of melodrama, film noir, and even the fairy tale that engage our empathy and confirm the Dardennes' great compassion.
  7. Cinematographer Eduardo Serra underscores the sense of dread with a rich charcoal palette, and the outstanding CGI and 3D effects make the otherworldly threats more corporeal.
    • 87 Metascore
    • 100 Critic Score
    It's something of a masterpiece: a confessional experimental documentary with echoes, both conscious and unconscious, of filmmakers from Andy Warhol to John Cassavetes, Stan Brakhage to David Lynch.
  8. Exhilarating.
  9. The high-powered drive of both the storytelling and the music is riveting.
    • 87 Metascore
    • 80 Critic Score
    This is an engrossing look at obsessive behavior gone terribly awry.
  10. For me it felt like a good many weeks at a politically correct summer camp, though the talented actors--including Cecilia Roth, Eloy Azorin, Marisa Paredes, Toni Canto, Antonia San Juan, and Penelope Cruz--certainly seem to enjoy the taste of the characters they're playing.
  11. It's reasonably well told and well mounted but little more.
  12. The real protagonist of Moneyball, however, is Beane himself, played with great charisma by Brad Pitt. (With this movie and "The Tree of Life" competing against each other, Pitt could wind up cheating himself out of an Oscar this year.)
  13. Director James Cameron dumps the decorative effects of Ridley Scott's 1979 Alien in favor of some daring narrative strategies and a tight thematic focus.
  14. This slam-bang remake of a 1963 feature by Eichi Kudo builds slowly, accumulating characters and themes, then explodes into a prolonged and masterful battle sequence inside a deserted town.
  15. The problem with these feats is that they threaten to overwhelm the film's content, both as complex historical commentary and as aesthetic and theoretical gesture.
  16. Cunningly scripted and acted, and talky in the best sense, the film is engrossing to watch but not especially interesting to ponder afterward; it's certainly an improvement on formulaic Hollywood, but on a thematic level there's still more windup than delivery.
    • 86 Metascore
    • 80 Critic Score
    Gene Hackman excels in Francis Ford Coppola's tasteful, incisive 1974 study of the awakening of conscience in an "electronic surveillance technician."
  17. Bar-Lev ponders myth in both senses of the word-as a web of lies, but also as a psychological construct that gives life purpose. An atheist and critical thinker, Pat Tillman had no use for either.
  18. The movie brushes against some of India's worst social ills, but it's essentially a fairy tale.
  19. Charting the ruthlessness of an ambitious bimbo telecaster in Little Hope, New Hampshire, this staccato black comedy sustains its brilliant exposition and narration until the plot turns to premeditated murder, complete with hapless and semicoherent teenage accomplices.
  20. "Heathers" may view teenagers more caustically, but this movie, incomparably better, actually delivers the goods.
  21. Intending to study the degree to which social class would determine the subjects' destinies, the series actually documents something more filmable--the degree to which the subjects believed social class would determine their destinies and the degree to which they believe it has.
  22. The wonderful Richard Farnsworth plays the lead, and he was clearly born for the part...a highly affecting and suggestive spiritual odyssey.
  23. Stylistically fresh and full of sweetness that never cloys, this is contemporary Hollywood filmmaking at its near best.
  24. Haggis's dialogue is worthy of Hemingway, and the three leads border on perfection.
  25. Though The Kids Are All Right sometimes smacks of political correctness, Cholodenko succeeds brilliantly in making her little clan seem completely run-of-the-mill.

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