Chicago Sun-Times' Scores

  • Movies
  • TV
For 5,126 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 8.6 points higher than other critics. (0-100 point scale)
Average Movie review score: 71
Highest review score: 100 The Conversation
Lowest review score: 0 Freddy Got Fingered
Score distribution:
5126 movie reviews
  1. Has slick production credits and performances that are quite adequate given the (narrow) opportunities of the genre.
  2. This is a well-made, topical thriller with a top-notch cast — but the script and the directorial/editing choices undercut nearly every pivotal scene, and every plot twist we can see coming two scenes in advance.
  3. True crime procedurals can have a certain fascination, but not when they're jumbled glimpses of what might or might not have happened involving a lot of empty people whose main claim to fame is that they're dead.
  4. I give the movie a negative review, and yet I don't think it's a bad movie; it's more of a misguided one, made with great creativity, but denying us what we more or less deserve from a Batman story.
  5. Repo Men makes sci-fi's strongest possible case for universal health care.
  6. The Giver doesn’t seem entirely consistent about its own rules and races far too quickly to a thoroughly unsatisfactory conclusion that raises three questions for each answer it provides.
  7. Carrey and Daniels throw themselves into the characters they inhabited 20 years ago, whether it means allowing their crotches to be doused, using their rear ends as comedic weapons, or just saying really stupid things. Sometimes it’s pretty damn funny. Almost always, it feels just a little bit desperate.
  8. It follows the well-worn pathways of countless police dramas before it.
  9. To spend 82 minutes watching Not Another Teen Movie would be a reckless waste of your time, no matter how many decades you may have to burn.
  10. From beginning to end, we've been there, seen that.
  11. A middling sitcom.
  12. Patton lightens the aggravation, for the most part, by combining a likable presence with a knack for physical comedy and a willingness to hop into dumpsters, etc., as needed, making the most of the script’s meager opportunities for comedy.
  13. I can't recommend the movie, except to younger viewers, but I don't dislike it. It's "Coach Carter" Lite, and it does what it does.
  14. The problem — and it’s an insurmountable, deadly, comedy-killing, consistent problem throughout — is a tired, uninspired, derivative screenplay that brings everyone to Vegas for a wedding and incorporates nearly every weekend-in-Vegas cliche explored in dozens of previous films.
  15. For one of the few times in Eastwood’s career as a director, he seems indecisive about what kind of movie he wanted to make.
  16. The exploration of gender politics grows tedious as the gender dynamic between the two leads reverses, and the same points are hammered home again and again.
  17. The film's failure is to get from A to B. We buy both good Sam and bad Sam, but we don't see him making the transition.
  18. There are moments of sudden truth in the film; Freundlich, who also made "The Myth of Fingerprints" (1997), about an almost heroically depressed family at Thanksgiving, can create and write characters, even if he doesn't always know where to take them.
  19. Everyone in The Other Side of the Bed, alas, has the depth of a character in a TV commercial: They're all surface, clothes, hair and attitude, and the men have the obligatory three-day beards.
  20. The beauty of Twilight Zone -- The Movie is the same as the secret of the TV series: It takes ordinary people in ordinary situations and then (can you hear Rod Serling?) zaps them with "next stop -- the Twilight Zone!"
  21. They might have been able to make a nice little thriller out of Antitrust if they'd kept one eye on the Goofy Meter.
  22. Steven Spielberg, a gifted filmmaker, should have reimagined the material, should have seen it through the eyes of someone looking at dinosaurs, rather than through the eyes of someone looking at a box-office sequel.
  23. The actors are splendid, especially Sarah Polley and Sean Penn, but we never feel confident that these two plots fit together, belong together, or work together.
  24. Not a successful movie--it's too stilted and pre-programmed to come alive--but in the center of it McDormand occupies a place for her character and makes that place into a brilliant movie of its own.
  25. Seems conventional in its ideas about where it can go and what it can accomplish. You don't get the idea anyone laughed out loud while writing the screenplay. It lacks a strange light in its eyes. It is too easily satisfied.
  26. Individual moments and lines and events in I Heart Huckabees are funny in and of themselves. Viewers may be mystified but will occasionally be amused. It took boundless optimism and energy for Russell to make the film, but it reminds me of the Buster Keaton short where he builds a boat but doesn't know how to get it out of the basement.
  27. This question, which will instinctively occur to many viewers, is never quite dealt with in the film. The photographers sometimes drive into the middle of violent situations, hold up a camera, and say "press!" - as if that will solve everything.
  28. It's sweet when it should be raunchy, or vice versa, and the result is a movie that seems uneasy with itself.
  29. The movie is mostly about our nasty heroes being attacked by terrifying antagonists in incomprehensible muddles of lightning-fast special effects. It lacks the quiet suspense of the first “Predator,” and please don't even mention the “Alien vs. Predator” pictures, which lacked the subtlety of “Mothra vs. Godzilla.”
  30. Once you get past the amazement this thing was made at all, the movie itself is an intermittently clever but mostly tedious, convoluted David Lynch knockoff that wanders all over the place.

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