Chicago Sun-Times' Scores

  • Movies
  • TV
For 5,757 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 My Neighbor Totoro
Lowest review score: 0 I Spit on Your Grave
Score distribution:
5757 movie reviews
  1. What a bold, mad act of genius it was, to make Lawrence of Arabia, or even think that it could be made.
  2. Bresson suggests that we are all Balthazars. Despite our dreams, hopes and best plans, the world will eventually do with us whatever it does.
  3. They are adults, for the most part outside organized religion, faced with situations in their own lives that require them to make moral choices. You shouldn’t watch the films all at once, but one at a time. Then if you are lucky and have someone to talk with, you discuss them, and learn about yourself. Or if you are alone, you discuss them with yourself, as so many of Kieslowski’s characters do.
  4. Its surface is as much fun as any movie ever made. Its depths surpass understanding. I have analyzed it a shot at a time with more than 30 groups, and together we have seen, I believe, pretty much everything that is there on the screen. The more clearly I can see its physical manifestation, the more I am stirred by its mystery.
  5. The wedding sequence... is a virtuoso stretch of filmmaking: Coppola brings his large cast onstage so artfully that we are drawn at once into the Godfather's world.
  6. Rear Window lovingly invests in suspense all through the film, banking it in our memory, so that when the final payoff arrives, the whole film has been the thriller equivalent of foreplay.
  7. The Leopard was written by the only man who could have written it, directed by the only man who could have directed it, and stars the only man who could have played its title character.
  8. The dialogue is so spare and cynical it has not grown old-fashioned. Much of the emotional effect of Casablanca is achieved by indirection; as we leave the theater, we are absolutely convinced that the only thing keeping the world from going crazy is that the problems of three little people do after all amount to more than a hill of beans.
  9. Once in a great while I see a movie I know I’ll be listing as one of my all-time favorites for the rest of my days. So it is with this remarkable, unforgettable, elegant epic that is about one family — and millions of families. It’s a pinpoint-specific and yet universal story.
  10. This is the kind of film that makes you feel intensely alive while you're watching it, and sends you out into the streets afterwards eager to talk deeply and urgently, to the person you are with. Whoever that happens to be.
  11. The movie is astonishingly beautiful. The cinematography is by Bergman's longtime collaborator Sven Nykvist.
  12. One of the greatest of all American films, but has never received the attention it deserves because of its lack of the proper trappings. Many "great movies'' are by great directors, but Laughton directed only this one film, which was a critical and commercial failure long overshadowed by his acting career.
  13. Singin' in the Rain is a transcendent experience, and no one who loves movies can afford to miss it.
  14. The movie has never really been about gold but about character, and Bogart fearlessly makes Fred C. Dobbs into a pathetic, frightened, selfish man -- so sick we would be tempted to pity him, if he were not so undeserving of pity.
  15. Moonlight is gorgeous and yet bleak, uplifting and yet sobering, exhilarating but also grounded in some unshakable realities.
  16. This restored 35mm print, now in art theaters around the country, may be 37 years old, but it is the best foreign film of the year.
  17. One of the greatest of all fantasy films.
  18. The movie's strength and weakness is Anne Baxter, whose Eve lacks the presence to be a plausible rival to Margo, but is convincing as the scheming fan. When Eve understudies for Margo and gets great reviews, Mankiewicz wisely never shows us her performance; better to imagine it, and focus on the girl whose look is a little too intense, whose eyes a little too focused, whose modesty is somehow suspect.
  19. A film like "Hoop Dreams" is what the movies are for. It takes us, shakes us, and make us think in new ways about the world around us. It gives us the impression of having touched life itself.
  20. Does what many great films do, creating a time, place and characters so striking that they become part of our arsenal of images for imagining the world.
  21. My Left Foot is a great film for many reasons, but the most important is that it gives us such a complete picture of this man's life. It is not an inspirational movie, although it inspires. It is not a sympathetic movie, although it inspires sympathy. It is the story of a stubborn, difficult, blessed and gifted man who was dealt a bad hand, who played it brilliantly, and who left us some good books, some good paintings and the example of his courage.
  22. Starting with Le Petit Soldat, Godard was forging his own individualistic art and becoming the most relevant director of our time.
  23. A towering landmark of film, quite simply because it tells a good story, and tells it wonderfully well.
  24. This is a powerful film and a stark visual accomplishment, but no thanks to Gabita (Laura Vasiliu). The driving character is her roommate Otilia (Anamaria Marinca), who does all the heavy lifting.
  25. Wilder's 1959 comedy is one of the enduring treasures of the movies, a film of inspiration and meticulous craft, a movie that's about nothing but sex and yet pretends it's about crime and greed.
  26. What makes Psycho immortal, when so many films are already half-forgotten as we leave the theater, is that it connects directly with our fears: Our fears that we might impulsively commit a crime, our fears of the police, our fears of becoming the victim of a madman, and of course our fears of disappointing our mothers.
  27. This is one of the funniest movies ever made. To see it now is to understand that. To see it for the first time in 1968, when I did, was to witness audacity so liberating that not even "There's Something About Mary" rivals it.
  28. Made with sublime innocence and breathtaking artistry, at a time when its simple values rang true.
  29. On the surface, Lucas has made a film that seems almost artless; his teenagers cruise Main Street and stop at Mel’s Drive-In and listen to Wolfman Jack on the radio and neck and lay rubber and almost convince themselves their moment will last forever. But the film’s buried structure shows an innocence in the process of being lost, and as its symbol Lucas provides the elusive blonde in the white Thunderbird -- the vision of beauty always glimpsed at the next intersection, the end of the next street.
  30. Ran
    Ran is a great, glorious achievement.

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