Chicago Sun-Times' Scores

  • Movies
  • TV
For 4,580 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 Chop Shop
Lowest review score: 0 Slackers
Score distribution:
4,580 movie reviews
  1. Never Die Alone is [Dickerson's] best work to date, with the complexity of serious fiction and the nerve to start dark and stay dark, to follow the logic of its story right down to its inevitable end.
  2. On the basis of Gigantic, Matt Aselton can make a fine and original film. This isn't quite it, but it has moments so good, all you wish for is a second draft.
  3. It glories in its silliness, and the actors are permitted the sort of goofy acting that distinguished screwball comedy. We get double takes, slow burns, pratfalls, exploding clothes wardrobes, dropped trays, tear-away dresses, missing maids of honor, overnight fame, public disgrace and not, amazingly, a single obnoxious cat or dog.
  4. I admire The Rite because while it delivers what I suppose should be called horror, it is atmospheric, its cinematography is eerie and evocative, and the actors enrich it.
  5. Eight different characters, all played by Murphy, all convincing, each with its own personality. This is not just a stunt. It is some kind of brilliance.
  6. Then they annoy us by trying to deny the attraction while the plot spins its wheels, pretending to be about something.
  7. From beginning to end, we've been there, seen that.
  8. What I regret is that all of the expertise lavished on this movie couldn't have been put at the service of a more intelligent story about real firemen, real working conditions, real heroism, and the real craft and art of fire-fighting.
  9. Here is a story hammered together from discards at the Lunacy Factory. Attempting to find something to praise, I am reduced to this: Cage's performance is not boring.
  10. Not a conventional documentary about quantum physics. It's more like a collision in the editing room between talking heads, an impenetrable human parable and a hallucinogenic animated cartoon.
  11. Starts promisingly as an attack on modern commercialized sports, and then turns into just one more wheezy assembly-line story about slacker dudes vs. rich old guys.
  12. The problem — and it’s an insurmountable, deadly, comedy-killing, consistent problem throughout — is a tired, uninspired, derivative screenplay that brings everyone to Vegas for a wedding and incorporates nearly every weekend-in-Vegas cliche explored in dozens of previous films.
  13. I'd rather August Rush went the whole way than just be lukewarm about it. Yes, some older viewers will groan, but I think up to a certain age, kids will buy it, and in imagining their response, I enjoyed my own.
  14. The positive messages involving characters searching for love and purpose in life are well thought out, but presented in a way that is just too genial and even-handed. No one ever gets really angry or passionate, and the result is a film that sometimes feels stilted.
  15. While the overall concept of the script is pretty creative and original, at several points along the way the storyline gets a bit muddled.
  16. A forgettable movie with a forgettable title about forgettable characters I’d just as soon as forget.
  17. The beauty of Twilight Zone -- The Movie is the same as the secret of the TV series: It takes ordinary people in ordinary situations and then (can you hear Rod Serling?) zaps them with "next stop -- the Twilight Zone!"
  18. Scrooged is one of the most disquieting, unsettling films to come along in quite some time. It was obviously intended as a comedy, but there is little comic about it, and indeed the movie's overriding emotions seem to be pain and anger.
  19. A disposable entertainment, redeemed by silliness, exaggeration, and Chan's skill and charm. I would not want to see it twice, but I liked seeing it once.
  20. The movie as a whole looks and occasionally plays better than it is.
  21. To make a film this awful, you have to have enormous ambition and confidence, and dream big dreams.
  22. My own feeling is that the film is one more assault on the notion that young American audiences might be expected to enjoy films with at least some subtlety and depth and pacing and occasional quietness. The filmmakers apparently believe their audience suffers from ADD, and so they supply breakneck action and screaming sound volumes at all times.
  23. A video game crossed with a buddy movie, a bad cop-good cop movie, a Miami druglord movie, a chase movie and a comedy. It doesn't have a brain in its head, but it's made with skill and style and, boy, is it fast and furious.
  24. At every moment in the movie, I was aware that Peter Sellers was Clouseau, and Steve Martin was not. I hadn't realized how thoroughly Sellers and Edwards had colonized my memory.
  25. And So It Goes is the cinematic equivalent of comfort food. The pleasure comes from experiencing the fine performances and semi-frequent smile-inducing dialogue, bolstered in no small fashion by the wonderful comedic timing of Michael Douglas and Diane Keaton.
  26. There's not a moment in this story arc that is not predictable.
  27. Some of these stories are fascinating and some are heartbreaking, but together they seem too contrived.
  28. The basic idea of Uncommon Valor is so interesting that it's all they can do to make a routine formula movie out of it. But they do.
  29. A mess. It lacks the sharp narrative line and crisp comic-book clarity of the earlier films, and descends too easily into shapeless fight scenes that are chopped into so many cuts that they lack all form or rhythm.
  30. Once in a blue moon a movie escapes the shackles of its genre and does what it really wants to do. Kids in America is a movie like that. It breaks out of Hollywood jail.

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