Chicago Sun-Times' Scores

  • Movies
  • TV
For 4,513 reviews, this publication has graded:
  • 75% higher than the average critic
  • 2% same as the average critic
  • 23% lower than the average critic
On average, this publication grades 9.5 points higher than other critics. (0-100 point scale)
Average Movie review score: 71
Highest review score: 100 Harlan County U.S.A. (re-release)
Lowest review score: 0 White House Down
Score distribution:
4,513 movie reviews
  1. I won't tell you I didn't enjoy parts of Bad Company, because I did. But the enjoyment came at moments well-separated by autopilot action scenes and stunt sequences that outlived their interest.
  2. The Crew is all contrivance and we don't believe a minute of it.
  3. Sweet and kind of touching, and I liked it. The difference, I think, is that the new one is lower on cynicism and higher on wisdom, and might actually contain some truth about the agonies of high school insecurity.
  4. A sweet, entertaining retread of an ancient formula, in which opposites attract despite all the forces arrayed to push them apart.
  5. I believe it is as cruel and senseless as the killings in "Elephant," but while that film was chillingly objective, this one seems to be on everybody's side. It's a moral muddle.
  6. A brave and ambitious but chaotic attempt at political satire.
  7. What we get in Analyze That are several talented actors delivering their familiar screen personas in the service of an idiotic plot.
  8. Garfield: A Tail of Two Kitties is actually funnier and more charming than the first film.
  9. Not a great film, but you know what? It achieves what it sets out to achieve, and it isn't boring, and it kept me intrigued and involved. As an actor, Eric Gores creates an engaging and convincing character that I liked and cared about -- and believed.
  10. The Samaritan isn't a great noir, but it's true to the tradition and gives Samuel L. Jackson one of his best recent roles.
  11. The script fails to persuade me this story needed to be told. It should have been trashier or more operatic, maybe. I dunno. It exists in that middle space of films that accurately reflect that which has little need to be reflected.
  12. Honey doesn't have a shred of originality (except for the high-energy choreography), but there's something fundamentally reassuring about a movie that respects ancient formulas; it's like a landmark preservation program.
  13. Here's a science-fiction film that's an insult to the words "science" and "fiction," and the hyphen in between them. You want to cut it up to clean under your fingernails.
  14. [Figgis] has made a thriller that thrills us only if we abandon all common sense. Of course preposterous things happen in all thrillers, but there must be at least a gesture in the direction of plausibility, or we lose patience.
  15. There's a point at which its enigmatic flashes of incomprehensible action grow annoying, and a point at which we realize that there's no use paying close attention, because we won't be able to figure out the film's secrets until they're explained to us.
  16. The movie was directed by Michael Brandt, who co-wrote the script with Derek Haas. Together they wrote a much better movie, "3:10 to Yuma." The Double doesn't approach it in terms of quality. None of it is particularly compelling.
  17. This is one of the most shocking and one of the best movies of the year.
  18. It's hard to figure who the movie is intended for. In shape and purpose, it's like a G-rated version of "This Is Spinal Tap," but will its wee target audience understand the joke?
  19. A sad-sack movie about the misery of a married couple who fight most of the time. Watching it is like taking a long trip in a small car with the Bickersons.
  20. Crush is an Aga romance crossed with modern retro-feminist soft porn, in which liberated women discuss lust as if it were a topic and not a fact.
  21. Lethal Weapon 4 has all the technical skill of the first three movies in the series, but lacks the secret weapon, which was conviction.
  22. Although the movie may appeal to kids in the lower grades, it's pretty slow, flat and dumb.
  23. There is little human interest or excitement. It isn't written that way. The music and the dialogue seem curiously even and muted, and there aren't the kinds of drama we expect in a biopic. Everyone is too restrained and discreet to expose themselves that way.
  24. Some people will find it emotionally manipulative. Some people like to be emotionally manipulated. I do, when it's done well.
  25. Mired in a plot of such stupidity.
  26. One of the things I like best about Poolhall Junkies is its lack of grim desperation.
  27. Provides an untidy and frustrating but never boring look at his life and times.
  28. The film has the obnoxious tone of a boring home movie narrated by a guy shouting in your ear.
  29. Has the same mixture of dumb puns, corny sight gags and sly, even sophisticated in-jokes. It's a lot of fun.
  30. The long closing sequence is virtuoso, redefining what went before and requiring Murphy to become a more complex character than she gave any hint of in the opening scenes.

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