Chicago Sun-Times' Scores

  • Movies
  • TV
For 4,513 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 9.5 points higher than other critics. (0-100 point scale)
Average Movie review score: 71
Highest review score: 100 All the Real Girls
Lowest review score: 0 September Dawn
Score distribution:
4,513 movie reviews
  1. The Queen is a spellbinding story of opposed passions -- of Elizabeth's icy resolve to keep the royal family separate and aloof from the death of the divorced Diana, who was legally no longer a royal, and of Blair's correct reading of the public mood.
  2. It's one of the great moviegoing experiences.
  3. It comes closer to reflecting the current state of race relations in America than any other movie of our time.
  4. Folman is an Israeli documentarian who has not worked in animation. Now he uses it as the best way to reconstruct memories, fantasies, hallucinations, possibilities, past and present. This film would be nearly impossible to make any other way.
  5. It moves us on a human level, it keeps us guessing during scenes as unpredictable as life, and it shows us how ordinary people have a chance of somehow coping with their problems, which are rather ordinary, too.
  6. Not a war film so much as the story of a personality who has found the right role to play. Scott's theatricality is electrifying.
  7. Many of the scenes in No Country for Old Men are so flawlessly constructed that you want them to simply continue, and yet they create an emotional suction drawing you to the next scene. Another movie that made me feel that way was "Fargo." To make one such film is a miracle. Here is another.
    • 91 Metascore
    • 100 Critic Score
    The Gatekeepers has a cold air to it: washed-out colors, tan ominous soundtrack, eerily floating satellite footage… The most chilling aspect, however, is the blunt commentary about the work itself.
  8. Plays like an anthology of the best parts from all the Saturday matinee serials ever made.
    • 90 Metascore
    • 75 Critic Score
    Editing seamlessly juxtaposes the women’s stories with historical performance footage. Their stories are so compelling, many suggest their own documentaries.
  9. After Hours is a brilliant film that is so original, so particular, that we are uncertain from moment to moment exactly how to respond to it. The style of the film creates, in us, the same feeling that the events in the film create in the hero. Interesting.
  10. One of a very few films that wants to do something unexpected and challenging, and succeeds even beyond its ambitions. See this film. Then shut up about it.
  11. This film embodies ideas. After the immediate experience begins to fade, the implications remain and grow.
  12. The best performance in the film is by Arestrup as Cesar. You may remember him from Audiard's "The Beat That My Heart Skipped" (2005), where he played a seedy but confident father who psychically overshadows his son.
  13. The movie heroes who affect me most are not extroverted. They don't strut, speechify and lead armies. They have no superpowers. They are ordinary people who are faced with a need and rise to the occasion. Ree Dolly is such a hero.
  14. Seductive and beautiful, cynical and twisted, and one of the best films of the year.
  15. One of the great films of all time. It shames modern Hollywood's timidity. To watch it is to feel yourself lifted up to the heights where the cinema can take you, but so rarely does.
  16. One view of what happened that day, a very effective one. And as an act of filmmaking, it is superb: A sense of immediate and present reality permeates every scene.
  17. Her
    Her works as a real romance, and as a commentary on the ways technology connects everyone to the world but also isolates us from legitimate, warm human contact.
  18. The movie makes no attempt to psychoanalyze its Kit Carruthers, and there are no symbols to note or lessons to learn. What comes through more than anything is the enormous loneliness of the lives these two characters lived, together and apart.
  19. Routinely called Tarkovsky's reply to Kubrick's "2001" -- But Kubrick's film is outward, charting man's next step in the universe, while Tarkovsky's is inward, asking about the nature and reality of the human personality.
  20. This is one of the best films of the year, an unflinching lament for the human condition.
  21. This time the dad is the hero of the story, although in most animation it is almost always the mother.
  22. Little by little, detail by detail, This Is Not a Film leads to a final scene of overwhelming power. I don't think it was even planned - no more than Panahi expected the little actress to take the cast off her arm. It simply happens, and then the film is over, having nothing more to say. Because, after all, it is not a film.
  23. It is one of the year's best films.
  24. Either Being John Malkovich gets nominated for best picture, or the members of the Academy need portals into their brains.
  25. The film has the materials for a lifetime project; like the "7-Up" series, this is a conversation that could be returned to every 10 years or so, as Celine and Jesse grow older.
  26. Grown-ups are likely to be surprised by how smart the movie is, and how sneakily perceptive.
  27. Oh, what a lovely film. I was almost hugging myself while I watched it.
  28. This film is delightful in the way it finds its own way to tell its own story. There was no model to draw on, but Shari Springer Berman and Robert Pulcini, who wrote and directed it, have made a great film by trusting to Pekar's artistic credo.

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