Chicago Sun-Times' Scores

  • Movies
  • TV
For 5,423 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 8.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 71
Highest review score: 100 One False Move
Lowest review score: 0 Chaos
Score distribution:
5423 movie reviews
  1. Pretty much a mess of a movie; the acting is overwrought, the plot is too tangled to play like anything BUT a plot, and although I know you can create terrific special effects at home in the basement on your computer, the CGI work in this movie looks like it was done with a dial-up connection.
  2. The movie offers brainless high-tech action without interesting dialogue, characters, motivation or texture.
  3. There must still be a kind of moony young adolescent girl for which this film would be enormously appealing, if television has not already exterminated the domestic example of that species.
  4. A mess. It lacks the sharp narrative line and crisp comic-book clarity of the earlier films, and descends too easily into shapeless fight scenes that are chopped into so many cuts that they lack all form or rhythm.
    • 42 Metascore
    • 38 Critic Score
    The best things about Parker are the two lead actors. Although working with material that is lackluster even by his standards, Statham manages to demonstrate a commanding screen presence that cannot be dismissed.
  5. The Blue Lagoon is the dumbest movie of the year. It could conceivably have been made interesting, if any serious attempt had been made to explore what might really happen if two 7-year-old kids were shipwrecked on an island. But this isn't a realistic movie. It's a wildly idealized romance, in which the kids live in a hut that looks like a Club Med honeymoon cottage, while restless natives commit human sacrifice on the other side of the island.
  6. The average issue of Mad magazine contains significantly smarter movie satire, because Mad goes for the vulnerable elements and Scary Movie 3 just wants to quote and kid.
  7. When you make films from junk TV, more often than not you’re going to wind up with a junk movie.
  8. This is a repetitive, pointless exercise in genre filmmaking--the kind of movie where you distract yourself by making a list of the sources.
  9. Prostitutes have inspired some of the most unforgettable characters in fiction. As for all of its effect on Angelina, she might as well have saved herself the wear and tear and stayed in the laundry.
    • 50 Metascore
    • 38 Critic Score
    Dark Skies is a bore that even the most forgiving genre buffs will find difficult to defend or endure.
  10. The director is James Foley, who is obviously not right for this material.
  11. Joyful Noise is an ungainly assembly of parts that don't fit, and the strange thing is that it makes no particular effort to please its target audience, which would seem to be lovers of gospel choirs.
  12. When Chase bothers to actually play a character, he can be very effective (his "Funny Farm" was one of the best comedies of 1988). But sometimes he seems to be covering himself, playing detached so that nobody can blame him if the comedy doesn't work. In this film he seems to have no emotions at all; consider the scene where he discovers that the woman he made love with has died during the night.
  13. Sitting through the smug and convoluted and ridiculous Now You See Me 2 is like being subjected to a dunk tank again and again — and then being handed a wet towel when it’s finally over.
  14. For all the visceral depictions of hatred and violence and human destruction, it feels as if the director is chasing his own tail and forgetting about making it all mean something.
  15. A loud, dopey chase film filled with substandard shootouts.
  16. It's the most lugubrious and soppy love story in many a moon, a step backward for director Sam Raimi after "A Simple Plan."
  17. A lazy, crummy-looking, poorly paced, why-bother follow-up that lacks the Christmas bells to go full-out politically incorrect.
  18. Its centerpiece is 40 minutes of redundant special effects, surrounded by a love story of stunning banality.
  19. The Fourth Kind is a pseudo-documentary like "Paranormal Activity" and "The Blair Witch Project." But unlike those two, which just forge ahead with their home video cameras, this one encumbers its flow with ceaseless reminders that it is a dramatization of real events.
  20. It is a thriller trapped inside a pop comedy set in Japan, and gives Reno a chirpy young co-star who bounces around him like a puppy on visiting day at the drunk tank.
  21. If there's anything I hate more than a stupid action comedy, it's an incompetent stupid action comedy. It's not so bad it's good. It's so bad it's nothing else but bad.
  22. Oh, did I dislike this film. It made me squirm. Its premise is lame, its plot relentlessly predictable, its characters with personalities that would distinguish picture books.
  23. This ensemble piece plays like “Crash” in a minor note, with one heavy-handed scene after another, all leading up to an ambivalent, unsatisfying ending.
  24. So anyway, what happens in Life As We Know It? You'll never guess in a million years. Never.
  25. Strange, that movies about Satan always require Catholics. You never see your Presbyterians or Episcopalians hurling down demons.
  26. Basically just a 98-minute trailer for the autumn launch of a new series on the Cartoon Network.
  27. I couldn’t wait for this movie to end.
  28. Even though they look nothing like sisters, they’re believable as sisters. Every once in a while when we take a break from the thuddingly unfunny slapstick stuff, there’s a nice and genuine moment.

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