Chicago Sun-Times' Scores

  • Movies
  • TV
For 5,887 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 points higher than other critics. (0-100 point scale)
Average Movie review score: 71
Highest review score: 100 Good Night, and Good Luck.
Lowest review score: 0 10 to Midnight
Score distribution:
5887 movie reviews
  1. Brief, spare and heartbreaking.
  2. A dim-witted but visually intriguing movie.
  3. The movie's problem is a fundamental lack of substance.
  4. It's a muddled, sometimes-atmospheric effort.
  5. Walking out of the screening, I was thinking: Elizabeth Hurley for girlfriend, Courtney Love for Satan.
  6. Simply amazing.
  7. It's that ambiguity that makes the film interesting.
  8. 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.
  9. Altman would never admit this, but I believe Dr. T, the gynecologist in his latest film, is an autobiographical character.
  10. Desperately unfunny.
  11. As much parable and fantasy as it is realistic.
  12. Possesses the art and craft of a good movie, but not the story.
  13. One of those rare movies where you leave the theater having been surprised and entertained, and then start arguing.
  14. A touching and effective film.
  15. The point is to show us what can be done with recycled traditional animation in the IMAX 3-D process, and the demonstration is impressive.
  16. Only rarely is a film this observant and tender about the ups and downs of daily existence.
  17. Oshima, directing his first film in 14 years, has found an actor with the physical attributes to play the character and seems content to leave it at that; his camera regards Sozaburo as an object of beauty but hardly seems to engage him.
  18. Spike Lee misjudged his material and audience. He doesn't find a successful way to express his feelings, angers and satirical points.
  19. Directed by Jay Roach, who made the "Austin Powers" movies and here shows he can dial down from farce into a comedy of (bad) manners. His movie is funnier because it never tries too hard.
  20. Aronofsky brings a new urgency to the drug movie by trying to reproduce, through his subjective camera, how his characters feel, or want to feel, or fear to feel.
  21. Bootmen is the story of a young dancer and his friends who revisit the cliches of countless other dance movies in order to bring forth a dance performance of clanging unloveliness.
  22. It's always about more than boxing.
  23. So likable, we go with it on its chosen level.
  24. While most band documentaries wade through sex, drugs and rock 'n' roll, this one has no sex, no drugs, and the kind of rock 'n' roll that reminds one of their fans of "something I'd hear at a dorm party."
  25. Has the outer form of a brave statement about the races in America, but the soul of a sports movie in which everything is settled by the obligatory last play in the last seconds of the championship game.
  26. It's a movie with so many inconsistencies, improbabilities, unanswered questions and unfinished characters that we have to suspend not only disbelief but also intelligence.
  27. Wickedly funny.
  28. Has slick production credits and performances that are quite adequate given the (narrow) opportunities of the genre.
  29. This is the kind of movie you sort of like, and yet even while you're liking it, you're thinking how much better these characters and this situation could have been with a little more imagination and daring.
  30. It is a bold, reckless gesture.

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