Chicago Sun-Times' Scores

  • Movies
  • TV
For 4,672 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 9.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 71
Highest review score: 100 Sweeney Todd: The Demon Barber of Fleet Street
Lowest review score: 0 The Life of David Gale
Score distribution:
4,672 movie reviews
  1. The most ingenious device in the story is the way Chow and Su play-act imaginary scenes between their cheating spouses.
  2. What you remember most are the shots of Baker roaming around Santa Monica, Calif., in what feels like endless late-afternoon sun, or riding at night in the back of a convertible with a woman on each arm.
  3. A surprisingly touching ending brings to fruition the idea that “all of us are connected.” Moore manages this life-affirming touch without being preachy and by simply melding unusual old folktales into a new story filled with visually stunning images sure to captivate children of all ages.
  4. It is about the actual lives of refugees, who lack the luxury of opinions because they are preoccupied with staying alive in a world that has no place for them.
  5. One of the funniest, most intelligent, most original films.
  6. This happens in 1961, when 16-year-old girls were a great deal less knowing than they are now. Yet the movie isn't shabby or painful, but romantic and wonderfully entertaining.
  7. Each character in this movie is given the dramatic opportunity to look inside himself, to question his own motives as well as the motives of others, and to try to improve his own ways of dealing with a troubled situation. Two of the characters do learn how to adjust; the third doesn't. It's not often we get characters who face those kinds of challenges on the screen, nor directors who seek them out. Ordinary People is an intelligent, perceptive, and deeply moving film.
  8. I enjoyed the film's look and feel, the perfectly modulated performances, and the whole tawdry world of spy and counterspy, which must be among the world's most dispiriting occupations. But I became increasingly aware that I didn't always follow all the allusions and connections. On that level, "Tinker Tailor" didn't work for me.
  9. The film is beautifully well-mounted. The locations, the sets, the costumes, everything conspire to re-create the Rome of that time. It provides a counterpoint to the usual caricature of Mussolini. They say that behind every great man there stands a great woman. In Mussolini's case, his treatment of her was a rehearsal for how he would treat Italy.
  10. Rotates its story through satire, comedy, suspense and violence, until it emerges as one of the best films I've ever seen.
  11. About Schmidt is billed as a comedy. It is funny to the degree that Nicholson is funny playing Schmidt, and funny in terms of some of his adventures, but at bottom it is tragic.
  12. A movie that is not only ingenious and entertaining, but liberating, because we can sense the story isn't going to be twisted into conformity with some stupid formula.
  13. There's some kind of pulse of sincerity beating below the glittering surface, and it may come from Mitchell's own life story.
  14. The film concludes not with a "surprise ending" but with a series of shots that brilliantly summarize all that has gone before. This is masterful filmmaking.
  15. The Past is an understated study of two marriages in transition.
  16. Shines with a kind of inspired madness.
  17. Not just a cute romp but an involving story that has something to say.
  18. This is one of the year's best films, a certain best picture nominee.
  19. The point is that for the soldiers, it's a dead zone, life on hold, a cheerless existence. And this plain-spoken old woman reminds them of a lifetime they are missing.
  20. Max is played by Jean Gabin, named "the actor of the century" in a French poll, in Jacques Becker's Touchez Pas au Grisbi, a 1954 French crime film that uncannily points the way toward Jean-Pierre Melville's great "Bob Le Flambeur" the following year.
  21. The first film to build on the enormously influential "Pulp Fiction" instead of simply mimicking it. It has the games with time, the low-life dialogue, the absurd violent situations, but it also has its own texture.
  22. There is the sense they're fighting for each other more than for ideology.
  23. The only other film I've seen with this boldness of vision is Kubrick's "2001: A Space Odyssey," and it lacked Malick's fierce evocation of human feeling.
  24. I can't single out a performance. This is a superb ensemble, conveying hat joy actors feel when hey know they're good in good material. This is not a traditional feature, but it's one of Spike Lee's best films.
  25. Meek's Cutoff is more an experience than a story. It has personality conflicts, but isn't about them. The suspicions and angers of the group are essentially irrelevant to their overwhelming reality. Reichardt has the courage to establish that.
    • 85 Metascore
    • 100 Critic Score
    After the curtains close on The Long Day Closes, its special light lingers, sending us back to the beginning for another "hearing." Such is the singular intensity of Davies' vision; even the rug has much to say. [30 July 1993, p.40]
    • Chicago Sun-Times
  26. The intimacy of debut writer-director Ryan Coogler’s approach to the film and the no-frills, believably real quality of the main performances combine to drive the senselessness of Oscar’s killing home with visceral impact.
  27. The Circle is all the more depressing when we consider that Iran is relatively liberal compared to, say, Afghanistan under the Taliban.
  28. Halloween is an absolutely merciless thriller...I would compare it to "Psycho."
    • Chicago Sun-Times
  29. Tells a story of conventional melodrama, and makes it extraordinary because of the acting.

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