Chicago Sun-Times' Scores

  • Movies
  • TV
For 5,567 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 Grand Canyon
Lowest review score: 0 I Spit on Your Grave
Score distribution:
5567 movie reviews
  1. Best of all, this movie is inhabited by a real cinematic intelligence. The audience isn't condescended to. In sequences like the one in which Travolta reconstructs a film and sound record of the accident, we're challenged and stimulated: We share the excitement of figuring out how things develop and unfold, when so often the movies only need us as passive witnesses.
  2. Only a few films are transcendent, and work upon our minds and imaginations like music or prayer or a vast belittling landscape...Alone among science-fiction movies, 2001 is not concerned with thrilling us, but with inspiring our awe.
  3. A remarkable film.
  4. Inception does a difficult thing. It is wholly original, cut from new cloth, and yet structured with action movie basics so it feels like it makes more sense than (quite possibly) it does.
  5. Body Heat is good enough to make film noir play like we hadn't seen it before.
  6. The actors, as sometimes happens, create those miracles that can endow a film with conviction. Moadi and Hatami, as husband and wife, succeed in convincing us their characters are acting from genuine motives.
  7. In its heedless energy and joy, it reminded me of how I felt the first time I saw "Raiders of the Lost Ark." It's like a film that escaped from the imagination directly onto the screen, without having to pass through reality along the way.
  8. It’s all perfectly, wonderfully, fantastically crazy. Amidst all those ingenious, power-packed road warrior sequences, Fury Road contains a surprising amount of depth and character development.
  9. The funniest movie I have seen in a long time.
  10. 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.
  11. This is a brave, layered film that challenges the wisdom of victory at any price. Both of its central characters would slip easily into conventional plot formulas, but Bahrani looks deeply into their souls and finds so much more.
  12. As a portrait of a deteriorating state of mind, We Need to Talk About Kevin is a masterful film.
  13. A few great directors have the ability to draw us into their dream world, into their personalities and obsessions and fascinate us with them for a short time. This is the highest level of escapism the movies can provide for us.
  14. Sully is an absolute triumph.
  15. Carl Franklin's film is true to the tone and spirit of the book. It is patient and in no hurry. It allows a balanced eye for the people in its hero's family who tug him one way and another.
  16. It is a full-bodied silent film of the sort that might have been made by the greatest directors of the 1920s, if such details as the kinky sadomasochism of this film's evil stepmother could have been slipped past the censors.
  17. The performance by Flora Cross is haunting in its seriousness. She doesn't act out; she acts in.
  18. It is a luxury to be enveloped in a good film.
  19. Seductive and beautiful, cynical and twisted, and one of the best films of the year.
  20. Bernardo Bertolucci's Last Tango in Paris is one of the great emotional experiences of our time.
    • 91 Metascore
    • 100 Critic Score
    The Gatekeepers has a cold air to it: washed-out colors, tan ominous soundtrack, eerily floating satellite footage… The most chilling aspect, however, is the blunt commentary about the work itself.
  21. It’s an unusual mix of big-picture issues, grindhouse pulp and pure, rough entertainment, bolstered by one of the better ensemble casts of the year. This movie is not, um, fussing around.
  22. Julianne Moore, Dennis Quaid and Dennis Haysbert are called on to play characters whose instincts are wholly different from their own. By succeeding, they make their characters real, instead of stereotypes.
  23. Kill Bill: Volume 1 shows Quentin Tarantino so effortlessly and brilliantly in command of his technique that he reminds me of a virtuoso violinist racing through "Flight of the Bumble Bee" -- or maybe an accordion prodigy setting a speed record for "Lady of Spain."
  24. This film is so good it is devastating.
  25. The affirmation at the end of the film is so joyous that this is one of the few movies in a long time that inspires tears of happiness, and earns them. The Color Purple is the year's best film.
  26. Once is the kind of film I've been pestered about ever since I started reviewing again. People couldn't quite describe it, but they said I had to see it. I had to. Well, I did. They were right.
  27. Rendition is valuable and rare. As I wrote from Toronto: "It is a movie about the theory and practice of two things: torture and personal responsibility. And it is wise about what is right, and what is wrong."
  28. While so many films about coming of age involve manufactured dilemmas, here is one about a woman who indeed does come of age, and magnificently.
  29. By now, everyone knows who wins, but the scenes before the fight set us up for it so completely, so emotionally, that when it's over we've had it. We're drained.

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