Chicago Sun-Times' Scores

  • Movies
  • TV
For 4,533 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 High Hopes
Lowest review score: 0 The Life of David Gale
Score distribution:
4,533 movie reviews
  1. Kidman is superb at making Suzanne into someone who is not only stupid, vain and egomaniacal (we've seen that before) but also vulnerably human.
  2. That such intelligence could be contained in a movie that is simultaneously so funny and so entertaining is some kind of a miracle.
  3. This series should be sealed in a time capsule. It is on my list of the 10 greatest films of all time, and is a noble use of the medium.
  4. The first time I saw The Straight Story, I focused on the foreground and liked it. The second time I focused on the background, too, and loved it.
  5. Seems torn between conflicting possibilities: It's structured like a comedy, but there are undertones of darker themes, and I almost wish they'd allowed the plot to lead them into those shadows.
  6. A masterpiece, pure and simple, deep and true...The best film of the year.
  7. Moore and Bening are superb actors here, evoking a marriage of more than 20 years, and all of its shadings and secrets, idealism and compromise.
  8. One of the best films of the year.
  9. The secret may be that Cronenberg approaches his trashy material with the objectivity of a scientist; it is his detached, cold style that makes the material creepy instead of simply sensational.
  10. Spellbinding.
  11. King of the Hill could have been a family picture, or a heartwarming TV docudrama, or a comedy. Soderbergh must have seen more deeply into the Hotchner memoir, however, because his movie is not simply about what happens to the kid. It's about how the kid learns and grows through his experiences.
  12. Someday it was inevitable that a great film would come along, utilizing the motorcycle genre, the same way the great Westerns suddenly made everyone realize they were a legitimate American art form, Easy Rider is the picture.
  13. The most heartbreaking scene shows survivors of the dead reaching through fence railings to scatter their ashes on the White House lawn, where presumably they still rest.
  14. There are a few movies where you can palpably sense the presence of the director behind the camera, and I'm Going Home is one of them.
  15. There are scenes as true as movies can make them, and even when the story develops thriller elements, they are redeemed, because the movie isn't about what happens, but about why.
  16. Ten
    The shame is that more accessible Iranian directors are being neglected in the overpraise of Kiarostami.
  17. [Nicholson's] performance is key in keeping Chinatown from becoming just a genre crime picture--that, and a Robert Towne screenplay that evokes an older Los Angeles, a small city in a large desert.
    • 86 Metascore
    • 88 Critic Score
    Petzold is a master at creating the kind of tension that can be felt on a subterranean level, a sort of acute uneasiness that can't be easily diagnosed, fixed, or even acknowledged by the characters. This is well-trod ground for Petzold, but never has it been so fully realized, so palpable, as in Barbara.
  18. I found myself resisting the film's pull of easy emotion. There are fundamental questions here, and the film doesn't engage them. I believe Christian should have had the humility to lead his monks away from the path of self-sacrifice.
  19. If you have never seen a single film by Agnes Varda, perhaps it is best to start with The Beaches of Agnes.
  20. Wolfgang Petersen's direction is an exercise in pure craftsmanship. [Director's Cut]
  21. The movie, in fact, resembles Capra's "It's a Wonderful Life" more than other, conventional time-travel movies.
  22. Argo the real movie about the fake movie, is both spellbinding and surprisingly funny.
  23. The performances are all insidiously powerful.
  24. A movie of introspection and defiance.
  25. Soderbergh's story, from a screenplay by Stephen Gaghan, cuts between these characters so smoothly that even a fairly complex scenario remains clear and charged with tension.
  26. No director since Fassbinder has been able to evoke such complex emotions with such problematic material.
  27. A surprisingly effective film, touching and knowing and, like Deneuve, ageless.
  28. Only a few films are transcendent, and work upon our minds and imaginations like music or prayer or a vast belittling landscape...Alone among science-fiction movies, 2001 is not concerned with thrilling us, but with inspiring our awe.
  29. Fabulously well-acted and crafted, but when I reach for it, my hand closes on air. It has rich material and isn't clear what it thinks about it. It has two performances of Oscar caliber, but do they connect?

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