Chicago Sun-Times' Scores

  • Movies
  • TV
For 4,624 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 Chinatown
Lowest review score: 0 Slackers
Score distribution:
4,624 movie reviews
  1. Here's a bad movie with hardly a bad scene. How can that be? The construction doesn't flow. The story doesn't engage. The insistent flashbacks are distracting. The plot has problems it sidesteps. Yet here is a gifted cast doing what it's asked to do. The failure is in the writing and editing.
  2. Pleasant and well-acted and easy to watch.
  3. Sex Tape feels like the halves of two different movies. There is a fun, believable comedy about family life... that is upended by the overly broad, barely funny attempts at reclaiming the sex tape.
  4. Suffers from a fatal misapprehension. It thinks it is about date rape, when actually it is about alcoholism.
  5. Moves at a breakneck pace, it has strong and simple characterizations, it has good location photography and terrific special effects, and it supplies what it claims to supply: an effective action movie.
  6. One possible approach to 8 1/2 Women, I think, is to view it as a slowed-down, mannered, tongue-in-cheek silent comedy, skewed by Greenaway's anger and desire to manipulate.
  7. The film itself is on autopilot and overdrive at the same time: It does nothing original, but does it very rapidly.
  8. This is not great comedy, and Wayans doesn't find ways to build and improvise, as Carrey does.
  9. If you don't already know who Bruce Campbell is, it will set you searching for other Bruce Campbell films on the theory that they can't all be like this. Start with "Evil Dead II," is my advice. Not to forget "Bubba Ho-Tep." In fact, start with them before My Name Is Bruce, which is low midrange in the Master's oeuvre.
  10. A brutal, crude, witless high-tech CGI contrivance, in which no artificial technique has been overlooked, including 3-D.
  11. That Awkward Moment strives to straddle the line between breezy, bromantic comedy and “Hangover”-esque guy humor. It fails miserably on both counts.
  12. Wan's movie is very efficient. Bacon, skilled pro that he is, provides the character the movie needs, just as he has in such radically different films as "Where the Truth Lies," "The Woodsman" and "Mystic River."
  13. Culkin plays Alig as clueless to the end, living so firmly in his fantasy world that nothing can penetrate his chirpy persona. Whether this is accurate--whether indeed any of the facts in the film are accurate--is not for me to say, but it works.
  14. In this film there is a scene where something is said in English pronounced with one accent, and a character asks, ''What did he say?'' and he is told -- in English pronounced with another accent.
  15. There was a lot I liked in Cletis Tout, including the performances and the very audacity of details like the magic tricks and the carrier pigeons. But it seemed a shame that the writer and director, Chris Ver Wiel, took a perfectly sound story idea and complicated it into an exercise in style. Less is more.
  16. After an intriguing setup, “Runner Runner” devolves into a by-the-books thriller.
  17. Red Lights also shows a director who knows how to construct a story and build interest, but at the end, it flies apart. I wonder if there was an earlier draft. I suspect most audiences would prefer a film with an ending that plays by the same rules as the rest of the story.
  18. There's nothing wrong with Fast Food Fast Women that a casting director and a rewrite couldn't have fixed.
  19. There are laughs, to be sure, and some gleeful supporting performances, but after a promising start the movie sinks in a bog of sentiment.
  20. It's so determined to be crude, vulgar and offensive that after a while I grew weary. Abbott and Costello used to knock out funnier movies on this exact intellectual plane without using a single F, S, C, P or A word.
  21. 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.
  22. What we have here is a witless attempt to merge the "Twilight" formula with the Michael Bay formula.
  23. Peter Sellers was a genius who somehow made Inspector Clouseau seem as if he really were helplessly incapable of functioning in the real world and somehow incapable of knowing that. Steve Martin is a genius, too, but not at being Clouseau. It seems more like an exercise.
  24. All of the characters are treated sincerely and played in a straightforward style. It's just that we don't love them enough.
  25. It's fractured and maddening, but it's alive.
  26. Director Peter MacDonald keeps the action exploding across the screen, building to a climactic game of "chicken" between Rambo in a Russian tank and the Soviet commander in a helicopter. Gung-ho Rambo fans won't be disappointed. [25 May 1988, p.43]
    • Chicago Sun-Times
  27. No Such Thing is inexplicable, shapeless, dull. It doesn't even rise to entertaining badness.
  28. The film's redeeming feature is that it knows how sad these people are, and finds the correct solution to their problems: They meet in the flesh.
  29. A delightful surprise because despite all the backstage drama, this is a movie that tells stories that work -- is charming, is moving, is funny and looks professional.
  30. Why Stop Now takes large themes much manhandled as movie cliches, and treats them with care and respect. It likes the characters. So did I.

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