Chicago Sun-Times' Scores

  • Movies
  • TV
For 5,425 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 8.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 71
Highest review score: 100 Big Night
Lowest review score: 0 Slackers
Score distribution:
5425 movie reviews
  1. The Lucky One is at its heart a romance novel, elevated however by Nicholas Sparks' persuasive storytelling.
    • 60 Metascore
    • 63 Critic Score
    It's an ambitious undertaking, this mix of Mamet and Godard, and it is to Nolan's credit that he takes it on so early in his cinematic career. It doesn't completely click, but there is plenty in this 70-minute black-and-white exercise to keep us involved.
  2. The movie is nice to look at, the colors and details are elegant, the animals engaging, the action fast-moving, but I don't think older viewers will like it as much as the kids.
  3. Writer-director Hiroyuki Okiura, however, does not match the high expectations for story and design set by other Japanese animators.
  4. Some of the stories are pretty good, especially Charles Burns' tale involving a nasty and vaguely humanoid insect that burrows under the skin.
  5. Desert Flower tells a rags-to-riches story, but it plays like two stories in conflict. Everything involving Waris in Africa or in London before her success feels true and heartfelt. Many later details are badly handled.
  6. On balance, I think it's an interesting miss, but a movie you might enjoy if (a) you don't expect a masterpiece, and (b) you like the dialogue in Quentin Tarantino movies.
  7. For all of its sensational stunts and flashes of wit, however, Last Action Hero plays more like a bright idea than like a movie that was thought through. It doesn't evoke the mystery of the barrier between audience and screen the way Woody Allen did, and a lot of the time it simply seems to be standing around commenting on itself.
  8. The Lady is more professional but, for me, "They Call It Myanmar" is more useful. Lieberman answers questions that Besson does not think to ask.
  9. With a cleaner story line, the basic idea could have been free to deliver. As it is, we get a better movie than we might have, because the performances are so good.
  10. What's lacking is a feeling for the heat and deafening chaos of actual club shows. The movie hangs back a little, folds its arms and nods its head, rather than rushing the stage or diving into the mosh pit. The tumult is depicted, not captured.
  11. It’s interesting that When the Game Stands Tall is essentially a movie about losing.
  12. Its pacing is too deliberate, and it doesn’t have a light heart. That’s revealed in the handling of some characters named the Brownies, represented by a couple of men who are about 9 inches tall and fight all the time. Maybe Lucas thought these guys would work like R2-D2 and C-3PO did in “Star Wars.” But they have no depth, no personalities, no dimension; they’re simply an irritant at the edge of the frame.
  13. Here is an unsuccessful movie with some surprisingly successful scenes. It has moments when it is electrifying and passages where it slows to a walk.
  14. The film is well acted all around and the excellent art direction brings the ’60s to colorful life. But Bandele struggles to balance an epic story of civil war and death against the equally epic story of sisters whose lives are forever changed by circumstances they can’t control.
  15. Surrogates is entertaining and ingenious, but it settles too soon for formula.
  16. Recycles the 1977 comedy right down to repeating the same mistakes.
  17. The movie is too flighty and uncentered, and it allows actual violence to break the spell when false alarms would have sufficed.
  18. That looking-glass quality is missing, alas, from Back to the Future Part III, which makes a few bows in the direction of time-travel complexities, and then settles down to be a routine Western comedy.
  19. The Best of Me was a better film than I expected. Much of that is due to the performances delivered by Marsden, Monaghan, Liana Liberato and especially young Australian actor Luke Bracey as the younger version of Marsden’s character.
  20. Lespert’s film, made with Berge’s blessing, does not sugarcoat the demons that plagued Saint Laurent.
  21. The dialogue in places leans toward the banal, but a couple of plot twists help hold interest.
  22. There is nothing really wrong with In Secret, yet in the end one feels dissatisfied. It’s as if you’ve just sat through a dry academic lecture dissecting the novel.
  23. The film would have benefitted by being less encompassing and focusing on a more limited number of emblematic characters -- Meinhof and Herold, for starters.
  24. There is an underlying likability to Austin Powers that sort of carries us through the movie.
  25. Stylistically, this saga of survival never aims for urban neo-realism. Yet, as sentimental humanism, it shows laudable taste in dodging the usual indulgent touches and turns when lost kids find their way.
  26. The Great Gatsby is a superficially beautiful hunk of a movie with nothing much in common with the spirit of F. Scott Fitzgerald's novel.
  27. Cuts back and forth between a tragic story involving the Holocaust and an essentially trivial, feel-good story about a modern-day reporter. It's an awkward fit and diminishes the impact of the earlier story.
  28. A lot of Trollhunter - but not enough - is funny. I imagine the best way to see the movie would be the way it was presented at Sundance, at a "secret" midnight screening at which the capacity audience allegedly has no idea what it is about to see.
  29. I know the novel, and as dark as this film is, I believe it hesitates to follow Greene into his dark abyss. It is about helplessness and evil, but isn't merciless enough.

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