Chicago Sun-Times' Scores

  • Movies
  • TV
For 4,668 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 9.4 points higher than other critics. (0-100 point scale)
Average Movie review score: 71
Highest review score: 100 A Most Violent Year
Lowest review score: 0 Wolf Creek
Score distribution:
4,668 movie reviews
  1. The original "Carrie'' worked because it was a skillful teenage drama grafted onto a horror ending. Also, of course, because De Palma and his star, Sissy Spacek, made the story convincing. The Rage: Carrie 2 is more like a shadow.
  2. The special effects are all there, nicely in place, and the production values are sound, but the movie is dead in the water. It tells an amazing and preposterous story, and it seems bored by it.
  3. The Rover does have a central nervous system that crackles and pops with suspense, but in the end it’s not enough to jump-start the lack of narrative. Too much story is missing, and that is simply distracting.
  4. Sweet and warm-hearted, but there is another film with a similar story that is boundlessly better, and that is "My Dog Skip" (2000).
  5. There are better movies opening this weekend. There are better movies opening every weekend. But Slither has a competence to it, an ability to manipulate obligatory horror scenes in a way that works.
  6. It’s a fractured fairy tale, penned in clunky strokes.
  7. The movie doesn't seem sure what tone to adopt, veering uncertainly from horror to laughs to romance.
  8. It isn't a great movie, but it looks terrific and makes me look forward to the next film by its director, David Ren. He has a good eye.
  9. Muslim comics are correct about not needing to defend their faith in post-9/11 America. Their patriotism is not the point. I just wish they told better jokes.
  10. Lars von Trier exhibits the imagination of an artist and the pedantry of a crank in Dogville, a film that works as a demonstration of how a good idea can go wrong.
  11. The film ends up feeling more like a very long music video.
  12. The movie turns cruel and ugly, and hasn't paid the dues to earn its last scenes. Parigi had me there for a while, but when he lost me, it was big time.
  13. Any movie that employs an oven mitt and a plumber's friend in a childbirth scene cannot be all bad, and I laughed a lot.
  14. If you’ve seen “The Big Chill,” you’ve seen this movie, with older grown-ups. Even if you haven’t, you won’t be surprised by much.
  15. The movie comes to life when Murphy and Wilson are trading one-liners, and then puts itself on hold for spy and action sequences of stunning banality.
  16. The film is not a compelling drama so much as a poignant observation of a sad situation.
  17. In The Hottest State, Hawke uses fairly standard childhood motivations for his unhappiness and reveals too little real interest in the Sara character.
  18. All through the movie, Scream 4 lets us know that it knows exactly what it's up to - and then goes right ahead and gets up to it.
  19. It may not be brilliant, but who would you rather your kids took as a role model: Crocodile Dundee, David Spade or Tom Green?
  20. While both have Broadway-level pipes, neither has a particularly distinctive, knock-it-out-of-the park voice. It doesn’t help that the songs, while solid, become repetitive in melody. And there’s not a home run in the bunch. I walked out humming … nothing from this movie.
  21. The sideshows in Gummo offer no particular form -- or even formlessness -- despite the visual momentum created by Jean Yves Escoffier's arresting camera work. [6 March 1998, p.40]
    • Chicago Sun-Times
  22. The screenplay, written by first-time director Marc Fienberg, fervently stays true to an ancient sitcom tradition.
  23. After the bite and freshness of "Analyze This," Mickey Blue Eyes plays like an afterthought.
  24. All of this grows tiresome. We're given no particular reason at the outset of The Loneliest Planet to care about these people, our interest doesn't grow along the way, the landscape grows repetitive, the director's approach is aggressively minimalist, and if you ask me, this romance was not made in heaven.
  25. When I heard that John Cusack had been cast for this film, it sounded like good news: I could imagine him as Poe, tortured and brilliant, lashing out at a cruel world. But that isn't the historical Poe the movie has in mind. It is a melodramatic Poe, calling for the gifts of Nicolas Cage.
  26. The story touches many themes, lingers with some of them, moves on and arrives at nowhere in particular. It's not a story so much as a reverie about possible stories.
  27. The movie remains an actor's exercise--too much dialogue, too much time in the room, too much happening offstage, or in the past, or in memory, or in imagination.
  28. Might be fun for younger teenagers who want to be reassured that people in their 30s still behave like younger teenagers.
  29. Lethal Weapon 4 has all the technical skill of the first three movies in the series, but lacks the secret weapon, which was conviction.
  30. Pesci has a lot of scenes that strike just the right note.

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