Chicago Sun-Times' Scores

  • Movies
  • TV
For 5,473 reviews, this publication has graded:
  • 74% higher than the average critic
  • 2% same as the average critic
  • 24% lower than the average critic
On average, this publication grades 8.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 71
Highest review score: 100 Big Night
Lowest review score: 0 Dirty Love
Score distribution:
5473 movie reviews
  1. It's not fair to say Steven Spielberg's 1941 lacks "pacing." It's got it, all right, but all at the same pace: The movie relentlessly throws gags at us until we're dizzy. It's an attempt at that most tricky of genres, the blockbuster comedy, and it tries so hard to dazzle us that we want a break.
  2. There is a funny movie lurking at the edges of Splash, and sometimes it even sneaks on screen and makes us smile. It's too bad the relentlessly conventional minds that made this movie couldn't have made the leap from sitcom to comedy.
  3. An earnest but hopeless attempt to tell a parable about a man's search for redemption. By the end of his journey, we don't care if he finds redemption, if only he finds wakefulness.
  4. A lot of the dialogue is intended as funny, but man, is it lame.
  5. If the movie is a lost cause, it may at least showcase actors who have better things ahead of them.
  6. In the earlier films, we really identified with the small cadre of surviving humans. They were seen as positive characters, and we cared about them. This time, the humans are mostly unpleasant, violent, insane or so noble that we can predict with utter certainty that they will survive.
  7. (Li)'s scenes are so clearly computer-aided that his moves are about as impressive as Bugs Bunny doing the same.
  8. Hoot has its heart in the right place, but I have been unable to locate its brain.
  9. It's slick, it has impressive production values and the acting is appropriate to the material. So why did I find myself so indifferent to the movie? Maybe because it never generated any sympathy for its characters. This is filmmaking by the numbers, without soul.
  10. Plays like a tired exercise, a spy spoof with no burning desire to be that, or anything else.
  11. There are those who will no doubt call The Postman the worst film of the year, but it's too good-hearted for that.
  12. This is not the story of a fugitive trying to sneak through enemy terrain and be rescued, but of a movie character magically transported from one photo opportunity to another.
  13. At every moment in the movie, I was aware that Peter Sellers was Clouseau, and Steve Martin was not. I hadn't realized how thoroughly Sellers and Edwards had colonized my memory.
  14. A witless recycling of the H.G. Wells story from 1895, with the absurdity intact but the wonderment missing.
  15. The movie deserves more stars for its bottom-line craft, but all the craft in the world can't redeem its story.
  16. The Hollars is an uneven, ineffective and self-conscious dysfunctional family comedy/drama with a Sundance-y vibe, and scene after scene in which the greatly talented and usually quite likable cast members keep stepping in big piles of wrong choices.
  17. ​I’ll tell you what got Taken. A hundred and twelve minutes of my life got Taken.
  18. Stiller the director does a fine job of making Zoolander 2 look like an actual spy movie, but we’ve seen far better takeoffs, including “Spy” and “Kingsman: The Secret Service” in just the last couple of years. As for the jabs at the transient nature of popular culture and the ridiculousness of high fashion world — easy, tired targets.
  19. In the lurid and cheesy and sometimes unintentionally funny political thriller Runner, one of the most intriguing and eclectic casts of the year is wasted in a murky cesspool that comes across as a third-rate version of “House of Cards” with a little bit of “Scandal” thrown in for bad measure.
  20. It's surprising to see a director like Michael Apted and an actress like Jennifer Lopez associated with such tacky material.
  21. Zipper might be entertaining enough in a campy way for you to watch it on demand as long as you’ve got a really big bowl of popcorn and an even bigger glass of wine (or the non-alcoholic elixir of your choice) to get you through. Might. Be.
  22. You know there's something wrong with a sex movie when the good parts are the dialogue.
  23. Starts promisingly as an attack on modern commercialized sports, and then turns into just one more wheezy assembly-line story about slacker dudes vs. rich old guys.
  24. It's a simple, wholesome parable, crashingly obvious, and we sit patiently while the characters and the screenplay slowly arrive at the inevitable conclusion. It needs to take some chances and surprise us.
  25. Maybe this is unreasonable, but I can’t help thinking that if you’re going to make a movie with “Oz” in the title, you’d better be prepared to kick in at least a little inspiration. Yet that’s precisely what’s missing — so utterly absent it’s almost impressive in a way — in the painfully uninspired Legends of Oz.
  26. In Step Brothers, the language is simply showing off by talking dirty. It serves no comic function, and just sort of sits there in the air, making me cringe.
  27. Footloose is a seriously confused movie that tries to do three things, and does all of them badly. It wants to tell the story of a conflict in a town, it wants to introduce some flashy teenage characters, and part of the time it wants to be a music video. It's possible that no movie with this many agendas can be good; maybe somebody should have decided, early on, exactly what the movie was supposed to be about.
  28. This is an astonishingly uninvolving and at times almost laughably melodramatic effort, marred by overwrought voice-over narration from Theron, a relentless barrage of scenes depicting horrific human suffering and a love story featuring one-dimensional characters we don’t particularly care about.
  29. The astonishing success of the original "MiB" was partly because it was fun, partly because it was unexpected. We'd never seen anything like it, while with MiBII, we've seen something exactly like it.
  30. A brutal, crude, witless high-tech CGI contrivance, in which no artificial technique has been overlooked, including 3-D.

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