Chicago Sun-Times' Scores

  • Movies
  • TV
For 5,481 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 8.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 71
Highest review score: 100 The People vs. Larry Flynt
Lowest review score: 0 Police Academy
Score distribution:
5481 movie reviews
  1. There are laughs, to be sure, and some gleeful supporting performances, but after a promising start the movie sinks in a bog of sentiment.
  2. After an intriguing setup, “Runner Runner” devolves into a by-the-books thriller.
  3. The great and usually fantastically innovative Werner Herzog has turned Bell’s story into a conventional, cliché-riddled, overly talky and plodding biopic where very little happens for long stretches of time, and we have to endure deadly-dull voice-over narration while looking at admittedly gorgeous scenery and, well, camels.
  4. The performances are strong, although undermined a little by Anselmo's peculiar style of dialogue, which sometimes sounds more like experimental poetry or song lyrics than like speech.
  5. The movie is only 84 minutes long, including credit cookies, but that is quite long enough. All the same, it's fitfully amusing and I have the sense that Spanish-speaking audiences will like it more than I did, although whether they'll be laughing with it or at it, I cannot say.
  6. Language of a Broken Heart has the Lifetime Network written all over it. It’s a fitting entry for that venue but as a theatrical feature, it’s simply not up to the task.
  7. Strongly told stories have a way of carrying their characters along with them. But here we have an undefined character in an aimless story. Too bad.
  8. The script must have been a funny read. It's the movie that somehow never achieves takeoff speed.
  9. Director Jose Padilha (the “Elite Squad” movies) knows how to create slick, sometimes clever fast-moving battle sequences... But other than Keaton’s Sellars, the bad guys are mostly generic nitwits.
  10. The film indulges in sentimental and sensational tropes. The manipulative touches do more than dis­­­­­­tract, they irk. This story could have been retold without resorting to all the unfortunate formulas used in prime-time and cable fare.
  11. Did I care if Largo Winch won his struggle for control of Winch International? Not at all. Did I care about him? No, because all of his action and dialogue were shunted into narrow corridors of movie formulas.
  12. The film is competently made, and the attractive cast emotes and screams energetically.
  13. My problem was that I didn't care who killed Mona Dearly, or why, and didn't want to know anyone in town except for Chief Rash and his daughter.
  14. That it works as well as it does is because the stars, Damon Wayans and Adam Sandler, have an easy rapport and some good one-liners, and the film is short and manic.
  15. The most astonishing thing in the movie, however, is how boring it is.
  16. Has slick production credits and performances that are quite adequate given the (narrow) opportunities of the genre.
  17. This is a well-made, topical thriller with a top-notch cast — but the script and the directorial/editing choices undercut nearly every pivotal scene, and every plot twist we can see coming two scenes in advance.
  18. True crime procedurals can have a certain fascination, but not when they're jumbled glimpses of what might or might not have happened involving a lot of empty people whose main claim to fame is that they're dead.
  19. I give the movie a negative review, and yet I don't think it's a bad movie; it's more of a misguided one, made with great creativity, but denying us what we more or less deserve from a Batman story.
  20. Repo Men makes sci-fi's strongest possible case for universal health care.
  21. The Giver doesn’t seem entirely consistent about its own rules and races far too quickly to a thoroughly unsatisfactory conclusion that raises three questions for each answer it provides.
  22. Carrey and Daniels throw themselves into the characters they inhabited 20 years ago, whether it means allowing their crotches to be doused, using their rear ends as comedic weapons, or just saying really stupid things. Sometimes it’s pretty damn funny. Almost always, it feels just a little bit desperate.
  23. It follows the well-worn pathways of countless police dramas before it.
  24. To spend 82 minutes watching Not Another Teen Movie would be a reckless waste of your time, no matter how many decades you may have to burn.
  25. From beginning to end, we've been there, seen that.
  26. A middling sitcom.
  27. Patton lightens the aggravation, for the most part, by combining a likable presence with a knack for physical comedy and a willingness to hop into dumpsters, etc., as needed, making the most of the script’s meager opportunities for comedy.
  28. I can't recommend the movie, except to younger viewers, but I don't dislike it. It's "Coach Carter" Lite, and it does what it does.
  29. 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.
  30. One wonders how In the Mouth of Madness might have turned out if the script had contained even a little more wit and ambition.

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