Chicago Sun-Times' Scores

  • Movies
  • TV
For 5,353 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 8.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 71
Highest review score: 100 Proof
Lowest review score: 0 Fist Fight
Score distribution:
5353 movie reviews
  1. The movie cuts back and forth between two preposterous plot lines and uses the man on the ledge as a device to pump up the tension.
  2. All this is presented in an expensive, good-looking film that is well-made by Scott Derrickson, but to no avail.
  3. The adults at the Hotchkiss reunion are played by an assortment of splendid actors.
  4. Nothing here about human nature. No personalities beyond those hauled in via typecasting. No lessons to learn. No joy to be experienced. Just mayhem, noise and pretty pictures.
  5. The big action set pieces fizzle. And that’s not good for a fantasy adventure movie, especially when the fantasy component is frequently undercut by sub-standard special effects.
  6. A sad reflection of the new Hollywood, where material is sanitized and dumbed down for a hypothetical teen market that is way too sophisticated for it. It plays like a dinner theater version of the original.
  7. [Garai and Luna] must be given credit for their presence and charisma in Dirty Dancing: Havana Nights, and together with the film's general ambiance, they do a lot to make amends for the lockstep plot.
  8. Here is a movie that ignores the Model Airplane Rule: First, make sure you have taken all of the pieces out of the box, then line them up in the order in which they will be needed. Bringing Down the House is glued together with one of the wings treated like a piece of tail.
  9. National Treasure is so silly that the Monty Python version could use the same screenplay, line for line.
  10. The great and usually fantastically innovative Werner Herzog has turned Bell’s story into a conventional, cliché-riddled, overly talky and plodding biopic where very little happens for long stretches of time, and we have to endure deadly-dull voice-over narration while looking at admittedly gorgeous scenery and, well, camels.
  11. About as good as a movie with these characters can probably be, and I am well aware that I am the wrong audience for this movie.
  12. Everything is brought together at the end in a flash of revelation that is spectacularly underwhelming.
  13. There are moments of sudden truth in the film; Freundlich, who also made "The Myth of Fingerprints" (1997), about an almost heroically depressed family at Thanksgiving, can create and write characters, even if he doesn't always know where to take them.
  14. After seeing Gere and Roberts play much smarter people (even in romantic comedies), it is painful to see them dumbed down here. The screenplay is so sluggish, they're like Derby winners made to carry extra weight.
  15. Director Kasper Barfoed defaults to intense replays of surveillance audio recordings, frantic strokes on computer keyboards, and standard-issue chases.
  16. The climactic events are shameless, contrived, and wildly out of tune with the rest of the story. To saddle Costner, Penn and Newman with such goofy melodrama is like hiring Fred Astaire and strapping a tractor on his back.
  17. [Stone] gives us provocative notes and sketches but not a final draft. The film doesn't feel at ease with itself. It says too much, and yet leaves too much unsaid.
  18. There simply isn’t a whole lot of excitement being generated in this lackluster family adventure, though it tries oh so very hard.
  19. I don't think Fat Albert is up to speed; in its meandering, low-key way, it seems destined more for a future on de-ved, returning to the video world where the characters say they feel more at home.
  20. Planes moves along quickly at a running time of 92 minutes, occasionally taking flight with some pretty nifty flight sequences. The animation is first-rate, and the Corningware colors are soothing eye candy.
  21. Skillfully made, but it's not necessary...On the other hand, should you see it, the time will pass pleasantly.
  22. The movie is all the more artificial because it has been made with great, almost painful, earnestness.
  23. A pleasant but inconsequential comedy, awkward for the actors, and contrived from beginning to end.
  24. Chronicles doesn't pause for much character development, and is in such a hurry that even the fight scenes are abbreviated chop-chop sessions.
  25. There’s gratuitous nudity, lots of partying, zippy camera moves, plenty of product placement and did we mention all those celebrity cameos? It all feels more like a rerun than a fully formed, stand-alone movie.
  26. The best thing in the movie is Schwarzenegger, who delivers the Guardian’s lines with perfect timing and creates an empathetic character, because as we know, nearly all the best movie robots somehow become just a little bit human as time goes on.
  27. The kind of film you can appreciate as an object, but not as a story. It's a lovingly souped-up incarnation of the film-noir look, contains well-staged and performed musical numbers, and has a lot of cigarettes, tough tootsies, bad guys and shadows. What it doesn't have is a story that pulls us along, or a hero who seems as compelling as some of the supporting characters.
  28. It has been written by people who want to prepare kids for the worst.
  29. The basic mistake in the movie isn't in the pacing, but in the storytelling. They've made the movie about its less interesting major character.
  30. Then they annoy us by trying to deny the attraction while the plot spins its wheels, pretending to be about something.

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