Chicago Sun-Times' Scores

  • Movies
  • TV
For 4,851 reviews, this publication has graded:
  • 74% higher than the average critic
  • 2% same as the average critic
  • 24% lower than the average critic
On average, this publication grades 9.1 points higher than other critics. (0-100 point scale)
Average Movie review score: 71
Highest review score: 100 The Last Seduction
Lowest review score: 0 The Texas Chainsaw Massacre
Score distribution:
4,851 movie reviews
  1. When the suffering of real children is used to enhance the image of movie stars who fall in love against the backdrop of their suffering, a certain decency is lacking. Beyond Borders wants it both ways -- glamor up front, and human misery in the background to lend it poignancy.
  2. Planes moves along quickly at a running time of 92 minutes, occasionally taking flight with some pretty nifty flight sequences. The animation is first-rate, and the Corningware colors are soothing eye candy.
  3. The movie is a first-time directorial effort by Justin Theroux, a splendid actor, son of the writer Phyllis, nephew of the novelist Paul. He might have done better to have taken on something by them.
  4. Reprising his writing/directing chores from the original, Ken Scott gives us an uneven mishmash that alternates between easy gags, shameless sentimentality and some just plain bizarre choices.
  5. There simply isn’t a whole lot of excitement being generated in this lackluster family adventure, though it tries oh so very hard.
  6. Jennifer Garner is indeed a charmer, but she's the victim of a charmless treatment in 13 Going on 30.
  7. This is Spielberg's weakest film since "1941."
  8. My two-star rating represents a compromise between admiration and horror.
  9. Too clever by half. It's the worst kind of con: It tells us it's a con, so we don't even have the consolation of being led down the garden path.
  10. Rocky IV is movie-making by the numbers. Even the climactic fight scene isn't as exciting as it should be, maybe because we know with a certainty born of long experience how it will turn out.
  11. It’s meant to be a soufflé-light charmer, but the bland, predictable French comedy Le Chef basically falls flat.
  12. I guess it's a tribute to The Man With Two Brains that I found myself laughing a fair amount of the time, despite my feelings about Martin.
  13. Everything is brought together at the end in a flash of revelation that is spectacularly underwhelming.
  14. Here's a case of two actors who do everything humanly possible to create characters who are sweet and believable, and are defeated by a screenplay that forces them into bizarre, implausible behavior.
  15. This movie wasn't made for me. It was made for the people who will love it, of which there may be a multitude. The stage musical has sold 30 million tickets, and I feel like the grouch at the party.
  16. Walking out of the screening, I was thinking: Elizabeth Hurley for girlfriend, Courtney Love for Satan.
  17. Shapiro fails to sell Shavitz as the “wise and wry, ornery and opinionated” figure the press notes promise. No opinion, wise or otherwise, is uttered by this rustic quasi-eccentric, let alone a green ethos.
  18. The Mothman is singularly ineffective as a threat because it is only vaguely glimpsed, has no nature we can understand, doesn't operate under rules that the story can focus on, and seems to be involved in space-time shifts far beyond its presumed focus. There is also the problem that insects make unsatisfactory villains unless they are very big.
  19. For the most part, Halloween II is a retread of “Halloween” without that movie's craft, exquisite timing, and thorough understanding of horror.
  20. The fight scenes in Bulletproof Monk are not as inventive as some I've seen (although the opening fight on a rope bridge is so well done that it raises expectations it cannot fulfill).
  21. The kind of dread dark horror film where you better hope nobody in the audience snickers, because the film teeters right on the edge of the ridiculous.
  22. Nearly everything in this movie feels borrowed from other movies and ever so slightly reshaped, and almost never for the better.
  23. The true story of Freddy Heineken’s kidnapping is fascinating, but Kidnapping Mr. Heineken is a disappointingly superficial film in which neither the kidnappers nor their captives are particularly interesting.
  24. An intriguing plot is established, a new character is brought on with a complex set of problems, and then all the groundwork disintegrates into the usual hash of preposterous action sequences.
  25. Although Catherine Hardwicke, the director of Lords of Dogtown, has a good sense for the period and does what she can with her actors, we've seen the originals, and these aren't the originals.
  26. So the movie is daring, and well-acted. Yet it isn't very satisfying, because the serious content keeps breaking through the soggy plot intended to contain it.
  27. Mars Attacks! has the look and feel of a schlocky 1950s science-fiction movie, and if it's not as bad as a Wood film, that's not a plus: A movie like this should be a lot better, or a lot worse.
  28. I'm all for movies that create unease, but I prefer them to appear to know why they're doing that. Super is a film ending in narrative anarchy, exercising a destructive impulse to no greater purpose than to mess with us.
  29. There's nothing much wrong with the film; my complaint is that there's nothing much right about it.
  30. Reeves has many arrows in his quiver, but screwball comedy isn't one of them.

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