Chicago Sun-Times' Scores

  • Movies
  • TV
For 4,736 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 Mad Max Beyond Thunderdome
Lowest review score: 0 Wolf Creek
Score distribution:
4,736 movie reviews
  1. There are laughs in the movie, and a lot of good feeling, but it seems more interested in its Italian stereotypes than its gay insights.
  2. The first three minutes convince us we're are looking at a commercial before the feature begins. Then we realize the whole movie will look like this.
  3. "Clerks" spoke with the sure, clear voice of an original filmmaker. In Mallrats the voice is muffled, and we sense instead advice from the tired, the establishment, the timid and other familiar Hollywood executive types.
  4. Little Ashes is absorbing but not compelling. Most of its action is inward.
  5. Sometimes it's all about the casting. The notice of a screening came around, I read the names Al Pacino, Christopher Walken and Alan Arkin, and it didn't matter in a way what the movie was about - although it didn't hurt that it was a crime movie.
  6. Time and again, Ride Along comes up with a clichéd setup — and then blows the payoff.
  7. To laugh at parts of this film would indicate one has a streak of Woodcockism in oneself. But to gaze in stupefied fascination is perfectly understandable. That's what makes Thornton such a complex actor.
  8. The story is sometimes overwritten, often overwrought, includes an overheard conversation on the "Nancy Drew" level, and yet holds our attention and contains surprises right until the end.
  9. 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.
  10. A long slog through perplexities and complexities.
  11. A high-speed, high-tech kiddie thriller that's kinda cute but sorta relentless.
  12. The movie is pleasant enough, but never quite reaches critical mass as a comedy.
  13. The movie is astonishingly simple-minded, depicting characters who obediently perform their assigned roles as adulterers, cuckolds, etc.
  14. While Olympus Has Fallen breaks no major new ground in the political thriller genre, Fuqua has directed a sharp, very taut adventure that keeps you engrossed from start to finish.
  15. Kick-Ass 2 is an uninspired retread. All too often it plays like a Comic-Con gone insane, with costumed do-gooders taking on costumed criminals in gratuitously vicious battles.
  16. The ending is an explanation, but not a solution. For a solution we have to think back through the whole film, and now the visual style becomes a guide. It is an illustration of the way the materials of life can be shaped for the purposes of the moment.
  17. It's about change, acceptance and love, and it rounds those three bases very nicely, even if it never quite gets to home.
  18. The movie is like the low-rent, road show version of those serious drug movies where everybody is macho and deadly.
  19. Sandler is making a tactical error when he creates a character whose manner and voice has the effect of fingernails on a blackboard, and then expects us to hang in there for a whole movie.
  20. If there's anything worse than a punch line that doesn't work, it's a movie that doesn't even bother to put the punch lines in.
  21. The plot is lame, but that doesn't matter, because Dumb and Dumber is essentially pitched at the level of an "Airplane!"-style movie, with rapid-fire sight gags.
  22. It’s interesting that When the Game Stands Tall is essentially a movie about losing.
  23. Jiminy Glick needs definition if he's to work as a character. We have to sense a consistent comic personality, and we don't; Short changes gears and redefines the character whenever he needs a laugh.
  24. I enjoyed this movie on its own dumb level.
  25. Jarmusch is making some kind of a point. I think the point is that if you strip a story down to its bare essentials, you will have very little left. I wonder how he pitched this idea to his investors.
  26. Here is the most uncomfortable movie of the new year, an exercise in feel-good smut.
  27. 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.
  28. It contains one element of startling originality: its bad guy, nicknamed Pooh-Bear and played by Vincent D'Onofrio in a great weird demented giggle of a performance; imagine a Batman villain cycled through the hallucinations of "Requiem for a Dream."
    • Chicago Sun-Times
  29. This project is dead in the water. Read the book. Better still, read "Victory."
  30. Goes so far over the top, it circumnavigates the top and doubles back on itself; it's the Mobius Strip of over-the-topness. I am in awe. It throws in everything but the kitchen sink. Then it throws in the kitchen sink, too, and the combo washer-dryer in the laundry room, while the hero and his wife are having sex on top of it.

Top Trailers