Chicago Sun-Times' Scores

  • Movies
  • TV
For 5,151 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 Proof
Lowest review score: 0 Police Academy
Score distribution:
5151 movie reviews
  1. 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.
  2. There's nothing much wrong with the film; my complaint is that there's nothing much right about it.
  3. Reeves has many arrows in his quiver, but screwball comedy isn't one of them.
  4. 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.
  5. Tells a pointlessly convoluted version of a love story that would really be very simple, if anyone in the movie possessed common sense.
  6. 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.
  7. 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.
  8. 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.
  9. The film never allows the audience to truly get to know any of the characters in Larry’s world.
  10. 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.
  11. Paradise is a ringing disappointment. Cody shows some potential as a director, but her own script lets her down.
  12. As a movie, it knows little about men, women or television shows, but has studied movie formulas so carefully that we can see each new twist and turn as it creeps ever so slowly into view.
  13. The Smurfs 2 probably isn’t any worse than you might expect. On the other hand, it’s almost certainly not any better. It’s just a matter of figuring out how much punishment you’re willing to endure for the sake of the small child you’re taking to the movies.
  14. There are small moments of real humor.
  15. As a movie, Veronica Mars looks and feels, well, like a glorified TV movie, with just decent production values, mostly unexceptional performances and ridiculous plot developments no more innovative than you’d see on a dozen network TV detective shows.
  16. Assembled from the debris of countless worn-out images of the Deep South and is indeed beautifully photographed. But the writer-director, Deborah Kampmeier, has become inflamed by the imagery and trusts it as the material for a story, which seems grotesque and lurid.
  17. [Harris and Franco] bring out the finest in each other as they punch and counter-punch vastly different memories of horrific incidents from the past. It’s great stuff. Unfortunately, much of the rest of the The Adderall Diaries is overwrought, convoluted and irritating.
  18. It proceeds so deliberately from one plot point to the next that we want to stand next to the camera, holding up cards upon which we have lettered clues and suggestions.
  19. In the end, I'm conflicted about the film. As an accessible family film, it delivers the goods. But it lives in the shadow of "March of the Penguins." Despite its sad scenes, it sentimentalizes.
  20. It's one of those off-balance movies that seems searching for the right tone.
  21. The movie is all the more artificial because it has been made with great, almost painful, earnestness.
  22. Amusing enough to watch and passes the time, but it's the kind of movie you're content to wait for on your friendly indie cable channel.
  23. Curran’s script never digs deep enough.
  24. The sex in the movie is so mild that I assumed the R rating was generated primarily by the gay theme, until I learned the R is in fact because of too many f-words.
  25. There’s an admirable commitment to absurdity, yet it belies the thoughtful coming-of-age journey for the five teens up until they hit “morphin time.”
  26. Of the two co-stars, what I can say is that I’m looking forward to their next films.
  27. The result is a tiresome exercise that circles at great length through various prefabricated stories defined by the advice each couple needs (or doesn't need).
  28. It's a muddled, sometimes-atmospheric effort.
  29. Chop off the last two or three minutes, fade to black, and you have a decent film.
  30. By the end of the movie, I frankly didn't give a damn. There's an ironic twist, but the movie hadn't paid for it and didn't deserve it. And I was struck by the complete lack of morality in Demonlover.

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