Chicago Sun-Times' Scores

  • Movies
  • TV
For 4,752 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 9.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 71
Highest review score: 100 Ballast
Lowest review score: 0 The Life of David Gale
Score distribution:
4,752 movie reviews
  1. Perhaps it is not supposed to be clear; perhaps the movie's air of confusion is part of its paranoid vision. There are individual moments that create sharp images (shock troops drilling through a ceiling, De Niro wrestling with the almost obscene wiring and tubing inside a wall, the movie's obsession with bizarre duct work), but there seems to be no sure hand at the controls.
  2. Ten
    The shame is that more accessible Iranian directors are being neglected in the overpraise of Kiarostami.
  3. It is a touching story, and the musicians (some over 90 years old) still have fire and grace onstage, but, man, does the style of this documentary get in the way.
  4. Watching this film I reflected that there are only so many Cracker Jacks you can eat before you decide to hell with the toy.
  5. The movie itself is good and shows promise, except for the ending, when Trier shouldn't have been so poetic. Not only does Reprise generate itself, it contains its own review.
  6. Not the worst of the countless recent movies about good kids and hidebound, authoritatian older people. It may, however, be the most shameless in its attempt to pander to an adolescent audience.
  7. It is just plain talky and boring. You know there's something wrong with a movie when the last third feels like the last half.
  8. Hicks may devote too much time on hospital errands and bedside moments as Terry’s health declines. But he succeeds at honoring the career of one man who is helping another’s.
  9. It is enormously ambitious -- maybe too much so, since it ranges so widely between styles and strategies that it distracts from its own flow.
  10. Because the film is well-acted and written with intelligence, it might be worth seeing, despite my objections. I suspect my own feelings.
  11. All of this grows tiresome. We're given no particular reason at the outset of The Loneliest Planet to care about these people, our interest doesn't grow along the way, the landscape grows repetitive, the director's approach is aggressively minimalist, and if you ask me, this romance was not made in heaven.
  12. Somehow isn't as exciting as a duel over a woman should be.
  13. The story touches many themes, lingers with some of them, moves on and arrives at nowhere in particular. It's not a story so much as a reverie about possible stories.
  14. An obliquely clinical love story.
  15. The disappointment is that Burton has not yet found the storytelling and character-building strength to go along with his pictorial flair.
  16. It has some of the simplicity and starkness of classical tragedy, but what made me impatient was its fascination with the macho bloodlust of the two families.
  17. So enigmatic, oblique and meandering that it's like coded religious texts that requires monks to decipher.
  18. A screenplay with the depth and insight of a cable-TV docudrama.
  19. A big, clunky movie containing some sensational sights but lacking the zest and joyous energy we expect from Steven Spielberg.
    • 72 Metascore
    • 50 Critic Score
    Big
    It's too involved in administering its reversion fantasy to acquisition-guilty yuppies to cast an eye on its own venture status. And the contradictions don't stop there. That this celebration of the Peter Pan syndrome was directed by a woman, Penny Marshall, adds another layer of dishonesty. [3 Jun 1988, p.31]
    • Chicago Sun-Times
  20. Volker Schlondorff’s talky drama...is less than persuasive.
  21. The problem is that Winterbottom has imagined both stories and several others, and tells them in a style designed to feel as if reality has been caught on the fly.
  22. When the hero, his alter ego, his girlfriend and the villain all seem to lack any joy in being themselves, why should we feel joy at watching them?
  23. Comforting, even soothing, to those who like the old songs best. It may confuse those who, because they like the characters, think it is good. It is not good. It is skillful.
  24. I praised "Lovely & Amazing," which also features a romance between an adult woman and a teenage boy. But "Lovely & Amazing" is about events that happen in a plausible world (the adult is actually arrested). Tadpole wants only to be a low-rent "Graduate" clone.
  25. Slight and sometimes wearisome.
  26. The movie's problem is that it loads the casting in a way that tilts the movie in the direction of a Harlequin romance.
  27. On a technical level, there's a lot to be said for Die Hard. It's when we get to some of the unnecessary adornments of the script that the movie shoots itself in the foot.
  28. There are better movies opening this weekend. There are better movies opening every weekend. But Slither has a competence to it, an ability to manipulate obligatory horror scenes in a way that works.
  29. I enjoyed Ashes of Time Redux, up to a point. It's great-looking, and the characters all know what they would, although we do not.

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