Chicago Sun-Times' Scores

  • Movies
  • TV
For 4,693 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 9.4 points higher than other critics. (0-100 point scale)
Average Movie review score: 71
Highest review score: 100 A Most Violent Year
Lowest review score: 0 Freddy Got Fingered
Score distribution:
4,693 movie reviews
  1. The screenplay tries to paper over too many story elements that needed a lot more thought. This movie has been filmed and released, but it has not been finished.
  2. Essentially an interlacing of irony and gotcha! Scenes.
  3. This is not the sort of movie you make it your business to see in a theater. But if you're ever surfing cable TV and come across it, you'll linger.
  4. The harder everyone tries to wring laughs out of the next hail of bullets or the next ridiculous plot twist or the next comedic decapitation, the duller the edge of the humor.
  5. Here's a bad movie with hardly a bad scene. How can that be? The construction doesn't flow. The story doesn't engage. The insistent flashbacks are distracting. The plot has problems it sidesteps. Yet here is a gifted cast doing what it's asked to do. The failure is in the writing and editing.
  6. The movie is focused on two kinds of chemistry: of the kitchen, and of the heart. The kitchen works better.
  7. The Humbling is a jumbled collection of scenes in which fantasy and reality intertwine in a manner I found more maddening than intriguing.
  8. It is a touching story, and the musicians (some over 90 years old) still have fire and grace onstage, but, man, does the style of this documentary get in the way.
  9. John Carpenter's Prince of Darkness gets off to an intriguing start. But then the movie loses its way.
  10. The screenplay, by Sara Parriott and Josann McGibbon, has a good feel for female best-friend relationships, and the dialogue has life and edge to it.
  11. October Baby is being promoted as a Christian film, and it could have been an effective one. Rachel Hendrix is surprisingly capable in her first feature role, and Jasmine Guy is superb in her scene. Unfortunately, the film as a whole is amateurish and ungainly, can't find a consistent tone, is too long, is overladen with music that tries to paraphrase the story and is photographed with too many beauty shots that slow the progress.
  12. The movie lacks the warmth and edge of the two previous features ("Walking and Talking" and "Lovely and Amazing"). It seems to be more of an idea than a story.
  13. It clearly aspires to be something more than another story about empty-headed teenagers in a remote cabin who get picked off one by one in gruesome fashion — but at the end of the day, that’s pretty much what we’re getting.
  14. Any professional film editor watching this movie is going to suffer through one moment after another that begs to be ripped from the film and cut up into ukulele picks. Never mind the film editor: A lot of audiences, with all the best will in the world, are going to feel the same way.
  15. I prefer "Life Is Beautiful," which is clearly a fantasy, to Jakob the Liar, which is just as contrived and manipulative but pretends it is not.
  16. Disclosure contains an inspiring terrific shot of Demi Moore's cleavage in a Wonderbra, surrounded by 125 minutes of pure goofiness leading up to, and resulting from, this moment.
  17. A pleasant, genial, good-hearted, sometimes icky comedy that's like spending a weekend with well-meaning people you don't want to see again any time real soon.
  18. Here are people who do not allow the use of their last names, yet they cheerfully have sex in front of the camera -- and even willingly participate in scenes that make them look cruel, twisted, reckless and perhaps deranged.
  19. True, Aniston does maybe her best film work to date in Cake. But it’s definitely not her best film.
  20. Johnny Knoxville, famous for "Jackass,"...is, in fact, completely convincing and probably has a legitimate movie career ahead of him and doesn't have to stuff his underpants with dead chickens and hang upside down over alligator ponds any more.
  21. The problem is that Winterbottom has imagined both stories and several others, and tells them in a style designed to feel as if reality has been caught on the fly.
  22. If we don’t care a whit about the characters and their respective dilemmas, a multiple-vortex tornado ripping through a used car lot is just a multiple-vortex tornado ripping through a used car lot.
  23. The movie is harmless and fitfully amusing.
  24. "Star Trek V" is pretty much of a mess - a movie that betrays all the signs of having gone into production at a point where the script doctoring should have begun in earnest. There is no clear line from the beginning of the movie to the end, not much danger, no characters to really care about, little suspense, uninteresting or incomprehensible villains, and a great deal of small talk and pointless dead ends. Of all of the "Star Trek" movies, this is the worst.
  25. Either this is a tragic family or a satirical one, and the film seems uncertain which way to jump.
  26. It's not just sad, it's brutal. There's an undercurrent of cold, detached cruelty in the way Michael uses the magical device.
  27. Kline's Frenchman is somehow not worldly enough, and Ryan's heroine never convinces us she ever loved her fiance in the first place. A movie about this kind of material either should be about people who feel true passion or should commit itself as a comedy. Compromise is pointless.
  28. Hal Hartley is on his way to creating a distinctive film world, and although Trust is not a successful film, you can see his vision at work, and it's intriguing.
  29. How much more interesting is a film like "(500) Days of Summer," which is about the complexities of life, in comparison with this one, which cheerfully cycles through the cliches.
  30. The movie is clearly intended for girls between the ages of 9 and 15, and for the more civilized of their brothers, and isn't of much use to anyone else.

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