Chicago Sun-Times' Scores

  • Movies
  • TV
For 4,853 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 9.1 points higher than other critics. (0-100 point scale)
Average Movie review score: 71
Highest review score: 100 Dark City
Lowest review score: 0 Jupiter Ascending
Score distribution:
4,853 movie reviews
  1. Too clever by half. It's the worst kind of con: It tells us it's a con, so we don't even have the consolation of being led down the garden path.
  2. Rocky IV is movie-making by the numbers. Even the climactic fight scene isn't as exciting as it should be, maybe because we know with a certainty born of long experience how it will turn out.
  3. It’s meant to be a soufflé-light charmer, but the bland, predictable French comedy Le Chef basically falls flat.
  4. I guess it's a tribute to The Man With Two Brains that I found myself laughing a fair amount of the time, despite my feelings about Martin.
  5. Everything is brought together at the end in a flash of revelation that is spectacularly underwhelming.
  6. Here's a case of two actors who do everything humanly possible to create characters who are sweet and believable, and are defeated by a screenplay that forces them into bizarre, implausible behavior.
  7. This movie wasn't made for me. It was made for the people who will love it, of which there may be a multitude. The stage musical has sold 30 million tickets, and I feel like the grouch at the party.
  8. Walking out of the screening, I was thinking: Elizabeth Hurley for girlfriend, Courtney Love for Satan.
  9. Shapiro fails to sell Shavitz as the “wise and wry, ornery and opinionated” figure the press notes promise. No opinion, wise or otherwise, is uttered by this rustic quasi-eccentric, let alone a green ethos.
  10. The Mothman is singularly ineffective as a threat because it is only vaguely glimpsed, has no nature we can understand, doesn't operate under rules that the story can focus on, and seems to be involved in space-time shifts far beyond its presumed focus. There is also the problem that insects make unsatisfactory villains unless they are very big.
  11. For the most part, Halloween II is a retread of “Halloween” without that movie's craft, exquisite timing, and thorough understanding of horror.
  12. The fight scenes in Bulletproof Monk are not as inventive as some I've seen (although the opening fight on a rope bridge is so well done that it raises expectations it cannot fulfill).
  13. The kind of dread dark horror film where you better hope nobody in the audience snickers, because the film teeters right on the edge of the ridiculous.
  14. Nearly everything in this movie feels borrowed from other movies and ever so slightly reshaped, and almost never for the better.
  15. The true story of Freddy Heineken’s kidnapping is fascinating, but Kidnapping Mr. Heineken is a disappointingly superficial film in which neither the kidnappers nor their captives are particularly interesting.
  16. An intriguing plot is established, a new character is brought on with a complex set of problems, and then all the groundwork disintegrates into the usual hash of preposterous action sequences.
  17. Although Catherine Hardwicke, the director of Lords of Dogtown, has a good sense for the period and does what she can with her actors, we've seen the originals, and these aren't the originals.
  18. So the movie is daring, and well-acted. Yet it isn't very satisfying, because the serious content keeps breaking through the soggy plot intended to contain it.
  19. Mars Attacks! has the look and feel of a schlocky 1950s science-fiction movie, and if it's not as bad as a Wood film, that's not a plus: A movie like this should be a lot better, or a lot worse.
  20. I'm all for movies that create unease, but I prefer them to appear to know why they're doing that. Super is a film ending in narrative anarchy, exercising a destructive impulse to no greater purpose than to mess with us.
  21. There's nothing much wrong with the film; my complaint is that there's nothing much right about it.
  22. Reeves has many arrows in his quiver, but screwball comedy isn't one of them.
  23. The movie has a certain mordant humor, and some macho dialogue that's funny. Woods manfully keeps a straight face through goofy situations where many another actor would have signaled us with a wink. But the movie is not scary, and the plot is just one gory showdown after another.
  24. Tells a pointlessly convoluted version of a love story that would really be very simple, if anyone in the movie possessed common sense.
  25. It’s like a low-budget, Canadian version of “Ocean’s 11,” with about half as many characters and about one-tenth the charm and style.
  26. In this film there is a scene where something is said in English pronounced with one accent, and a character asks, ''What did he say?'' and he is told -- in English pronounced with another accent.
  27. A high-tech and well made violent action picture using the name of Robin Hood for no better reason than that it’s an established brand not protected by copyright.
  28. The film never allows the audience to truly get to know any of the characters in Larry’s world.
  29. The movie is too impressed with its own solemn insights to work up much entertainment value; is too much fable to be convincing as life.
  30. Paradise is a ringing disappointment. Cody shows some potential as a director, but her own script lets her down.

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