Chicago Sun-Times' Scores
- Movies
- TV
For 4,152 reviews, this publication has graded:
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75% higher than the average critic
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2% same as the average critic
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23% lower than the average critic
On average, this publication grades 9.6 points higher than other critics.
(0-100 point scale)
Average Movie review score: 71
| Highest review score: |
Critic Score
100
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| Lowest review score: |
Critic Score
0
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Score distribution:
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Positive: 3,187 out of 4152
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Mixed: 568 out of 4152
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Negative: 397 out of 4152
4,152
movie reviews
- By critic score
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Reviewed by
Roger Ebert 100
Not many movies like this get made, because not many filmmakers are so bold, angry and defiant. -
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Reviewed by
Roger Ebert 100
It is a surprisingly entertaining film - funny, wicked, sharp-tongued and devious. It does not solve the case, nor intend to. I am afraid it only intends to entertain. -
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Reviewed by
Roger Ebert 100
An experience so engrossing it is like being buried in a new environment. -
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Reviewed by
Roger Ebert 100
In the way it combines sports with human nature, it reminded me of another wonderful Indiana sports movie, "Breaking Away." It's a movie that is all heart. -
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Reviewed by
Roger Ebert 100
By the end of the movie, we have been through an emotional and a sensual wringer, in a film of great wisdom and delight. -
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Reviewed by
Roger Ebert 100
This series should be sealed in a time capsule. It is on my list of the 10 greatest films of all time, and is a noble use of the medium. -
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Reviewed by
Roger Ebert 100
It comes closer to reflecting the current state of race relations in America than any other movie of our time. -
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Reviewed by
Roger Ebert 100
It's rare to get a good movie about the touchy adult relationship of a sister and brother. Rarer still for the director to be more fascinated by the process than the outcome. This is one of the best movies of the year. -
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Reviewed by
Roger Ebert 100
If "Henry V," the first film [Branaugh] directed and starred in, caused people to compare him to Olivier, "Dead Again" will inspire comparisons to Welles and Hitchcock - and the Olivier of Hitchcock's "Rebecca." -
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Reviewed by
Roger Ebert 100
It is not a "dirty movie," and in fact takes spirituality and morality more seriously than most films do. And in the bad lieutenant, Keitel has given us one of the great screen performances in recent years. -
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Reviewed by
Roger Ebert 100
This is one of the best films of the year, an unflinching lament for the human condition. -
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Reviewed by
Roger Ebert 100
Los Angeles always seems to be waiting for something. Permanence seems out of reach; some great apocalyptic event is on the horizon, and people view the future tentatively. Robert Altman's Short Cuts captures that uneasiness perfectly. -
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Reviewed by
Roger Ebert 100
I saw Tarzan once, and went to see it again. This kind of bright, colorful, hyperkinetic animation is a visual exhilaration. -
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Reviewed by
Roger Ebert 100
Pollock is confident, insightful work--one of the year's best films. -
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Reviewed by
Roger Ebert 100
A tense, taut and expert thriller that becomes something more than that, an allegory about an innocent man in a world prepared to crush him. -
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Reviewed by
Roger Ebert 100
The splendid cast embodies the characters so fully that the events actually seem to be happening to them, instead of unfolding from a screenplay. -
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Reviewed by
Roger Ebert 100
The film is inspirational and educational - and it is also entertaining, as movies must be before they can be anything else. -
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Reviewed by
Roger Ebert 100
A movie that is not only ingenious and entertaining, but liberating, because we can sense the story isn't going to be twisted into conformity with some stupid formula. -
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Reviewed by
Roger Ebert 100
Made with sublime innocence and breathtaking artistry, at a time when its simple values rang true. -
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Reviewed by
Roger Ebert 100
This film is delightful in the way it finds its own way to tell its own story. There was no model to draw on, but Shari Springer Berman and Robert Pulcini, who wrote and directed it, have made a great film by trusting to Pekar's artistic credo. -
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Reviewed by
Roger Ebert 100
David Gordon Green's second film, is too subtle and perceptive, and knows too much about human nature, to treat their lack of sexual synchronicity as if it supplies a plot. -
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Reviewed by
Roger Ebert 100
Pitiless, bleak and despairing -- The Grey Zone refers to a world where everyone is covered with the gray ash of the dead, and it has been like that for so long they do not even notice anymore. -
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Reviewed by
Roger Ebert 100
It is one of those rare movies that is not just about a story, or some characters, but about a whole universe of feeling. -
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Reviewed by
Roger Ebert 100
Films like this are more useful than gung-ho capers like "Behind Enemy Lines." They help audiences understand and sympathize with the actual experiences of combat troops, instead of trivializing them into entertainments. -
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Reviewed by
Roger Ebert 100
The film is a glorious experience to witness, not least because, knowing the technique and understanding how much depends on every moment, we almost hold our breath. -
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Reviewed by
Roger Ebert 100
Max is played by Jean Gabin, named "the actor of the century" in a French poll, in Jacques Becker's Touchez Pas au Grisbi, a 1954 French crime film that uncannily points the way toward Jean-Pierre Melville's great "Bob Le Flambeur" the following year. -
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Reviewed by
Roger Ebert 100
No movie has had a greater impact on the way people looked. The music of course is immortal. -
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Reviewed by
Roger Ebert 100
I have seen love scenes in which naked bodies thrash in sweaty passion, but I have rarely seen them more passionate than in this movie, where everyone is wrapped in layers of Victorian repression. -
