Chicago Sun-Times' Scores

  • Movies
  • TV
For 4,671 reviews, this publication has graded:
  • 75% higher than the average critic
  • 2% same as the average critic
  • 23% 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 Wolf Creek
Score distribution:
4,671 movie reviews
  1. True, Aniston does maybe her best film work to date in Cake. But it’s definitely not her best film.
  2. 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.
  3. 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.
  4. 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.
  5. The movie is harmless and fitfully amusing.
  6. "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.
  7. Either this is a tragic family or a satirical one, and the film seems uncertain which way to jump.
  8. It's not just sad, it's brutal. There's an undercurrent of cold, detached cruelty in the way Michael uses the magical device.
  9. 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.
  10. 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.
  11. 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.
  12. 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.
  13. A mild pleasure from one end to the other, but not much more. Maybe that's enough, serving as a reminder that movie comedies still can be about ordinary people and do not necessarily have to feature vulgarity as their centerpiece.
  14. This movie is all elbows. Nothing fits. It doesn't add up. It has some terrific free-standing scenes, but they need more to lean on.
  15. Foster, I believe, sees right through this material and out the other side, and doesn't believe in a bit of it.
  16. Who was Joseph Fiennes channeling when he chose this muddled tone? Obviously he was reluctant to gave a broad, inspirational performance of the kind you find in deliberately religious films.
  17. There is nothing to complain about except the film's deadening predictability and the bland, shallow characters.
  18. Hicks may devote too much time on hospital errands and bedside moments as Terry’s health declines. But he succeeds at honoring the career of one man who is helping another’s.
  19. There are moments of surprising tenderness in Fading Gigolo, and Turturro gives us some beautiful shots of a city he clearly loves. But this film is all over the map, veering from pathos to absurdist comedy to romance to weirdness for the sake of weirdness.
  20. Texas Killing Fields begins along the lines of a police procedural and might have been perfectly absorbing if it had played by the rules: strict logic, attention to detail, reference to technical police work. Unfortunately, the movie often seems to stray from such discipline.
  21. Here is a movie that ignores the Model Airplane Rule: First, make sure you have taken all of the pieces out of the box, then line them up in the order in which they will be needed. Bringing Down the House is glued together with one of the wings treated like a piece of tail.
  22. The kind of film you can appreciate as an object, but not as a story. It's a lovingly souped-up incarnation of the film-noir look, contains well-staged and performed musical numbers, and has a lot of cigarettes, tough tootsies, bad guys and shadows. What it doesn't have is a story that pulls us along, or a hero who seems as compelling as some of the supporting characters.
  23. Nothing heats up. The movie doesn't lead us, it simply stays in step.
  24. Here is a film that begins with merciless comic savagery and descends into merely merciless savagery. But wow, what an opening.
  25. If you're a fan of Hector Lavoe and Latin music, or Lopez and Anthony, you'll want to see El Cantante for what's good in it. Otherwise, you may be disappointed. The director (Leon Ichaso) and his co-writers haven't licked a crucial question: Why do we need to see this movie and not just listen to the music?
  26. The plot is simple-minded and disappointing, and the chase and action scenes are pretty much routine for movies in the sci-fi CGI genre. The robots never seem to have the heft and weight of actual metallic machines, and make boring villains.
  27. The Navajo code talkers have waited a long time to have their story told. Too bad it appears here merely as a gimmick in an action picture.
  28. I was pleased again and again by set-ups, camera angles, lighting effects, editing rhythms and the fanciful staging of action scenes. But I never for a moment cared about the characters, and the plot was all too conveniently structured - just a guideline to the action.
  29. A strange mutant beast, half Nickelodeon movie, half R-rated comedy. It's like kids with potty-mouth playing grownup.
  30. Begins with promise, proceeds in fits and starts, and finally sinks into a cornball drone of greeting-card sentiment.

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