Chicago Sun-Times' Scores

  • Movies
  • TV
For 5,110 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 8.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 71
Highest review score: 100 Avatar
Lowest review score: 0 Deuce Bigalow: European Gigolo
Score distribution:
5110 movie reviews
    • 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.
  1. Thanks to director Jon Favreau’s visionary guidance and some of the most impressive blends of live-action and CGI we’ve yet seen, The Jungle Book is a beautifully rendered, visually arresting take on Rudyard Kipling’s oft-filmed tales.
  2. A compelling, persuasive film, at odds with the White House effort to present Bush as a strong leader.
  3. Has the sort of headlong confidence the genre requires. Russell finds the strong central line all screwball begins with, the seemingly serious mission or quest, and then throws darts at a map of the United States as he creates his characters.
  4. The film is terrifically entertaining, an ambitious big-budget epic, directed with great visuals and sound by Takeshi Miike.
  5. This is a sweet, funny, smart, genuine all-ages movie with simple, timeless messages.
  6. This is one of Kristin Scott Thomas' most inspired performances.
  7. Nuri Bilge Ceylan, one of Turkey's best directors, has a deep understanding of human nature. He loves his characters and empathizes with them. They deserve better than to be shuttled around in a facile plot. They deserve empathy. So do we all.
  8. This is a writer's picture, no less than a visual experience that approaches its subject as tactfully as the messengers do. No fancy camerawork. It happens, we absorb it.
  9. It handles a sports movie the way Billie Holiday handled a trashy song, by finding the love and pain beneath the story.
  10. Kandahar does not provide deeply drawn characters, memorable dialogue or an exciting climax. Its traffic is in images.
  11. Patton Oswalt is, in a way, the key to the film's success. Theron is flawless at playing a cringe-inducing monster and Wilson touching as a nice guy who hates to offend her, but the audience needs a point of entry, a character we can identify with, and Oswalt's Matt is human, realistic, sardonic and self-deprecating. He speaks truth to Mavis.
  12. It’s funny, exciting, preposterous, great to look at, and made with the same level of technical expertise we’d expect from a new Bond movie itself. And all of that is very nice, but nicer still is the perfect pitch of the casting.
  13. It walks and talks like a big budget horror film, heavy on special effects and pitched at the teenage audience, and maybe that's how it will be received. But it's more impressive if you ignore the genre and just look at what's on the screen.
  14. A treasure of a movie because it knows so much about baseball and so little about love.
  15. This thoughtful film is designed with taste. Music is minimal. Cuing a little Nine Inch Nails at the end, Poitras enables “citizenfour” to commit an act of reverse surveillance on the NSA.
  16. Here is a satire both savage and elegant, a dagger instead of a shotgun.
  17. The movie is successful largely because [DiCaprio] is a good enough actor to hold his own in his scenes with De Niro, so that the movie remains his story, and isn't upstaged by the loathsome but colorful Dwight.
  18. It's sharp and funny--not a children's movie, but one of those hybrids that works on different levels for different ages.
  19. As we’re enjoying the beautiful cinematography and the fine acting and the dark humor, Benjamin Dickinson is delivering a signature work announcing his arrival as a filmmaker to watch for years to come.
  20. Trainwreck is my favorite romantic comedy of the year, and despite (or maybe because of) all its sharp edges and cynical set pieces, it’s a movie you want to wrap your arms around, or at least give a high five.
  21. It's also interesting to see how little screen time the final disco competition really has, considering how large it looms in our memories.
  22. Chabrol as always shows a tenderness toward the lives of people who are exceptional only because crime touches them.
  23. I have only one complaint, and it is this: Every American should be as fortunate as I have been. As Moore makes clear in his film, some 50 million Americans have no insurance and no way to get it.
  24. The key element in any action picture, I think, is a good villain. Terminator 2 has one, along with an intriguing hero and fierce heroine, and a young boy who is played by Furlong with guts and energy.
    • 76 Metascore
    • 88 Critic Score
    Strangely haunting, often heartbreaking.
  25. It has more intelligence than heart, and is more clever than enlightening. But it is never boring, and there are moments when it reminds us of how sexy the movies used to be, back in the days when speech was an erogenous zone.
  26. Vinterberg has created a modern horror story about a man’s descent into a Kafkaesque nightmare.
  27. This is not a political documentary. It is a crime story. No matter what your politics, Enron: The Smartest Guys in the Room will make you mad.
  28. If the film is less than perfect, it is because Smith is too much in love with his dialogue. Smith is a gifted comic writer who loves paradox, rhetoric and unexpected zingers from the blind side.

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