Chicago Sun-Times' Scores

  • Movies
  • TV
For 4,795 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 9.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 71
Highest review score: 100 The Widow of Saint-Pierre
Lowest review score: 0 The Life of David Gale
Score distribution:
4,795 movie reviews
  1. The film is bold and passionate, but not subtle, and that is its downfall.
  2. By the end of the movie, I frankly didn't give a damn. There's an ironic twist, but the movie hadn't paid for it and didn't deserve it. And I was struck by the complete lack of morality in Demonlover.
  3. The characters are all over the map, there are too many unclear story threads, our sympathies are confused, and there's an unconvincing showdown in which the story's lovingly developed ambiguities are lost.
  4. Bourdos’ high-minded aspirations are obvious, but his visually satisfying film is dramatically elusive.
  5. It employs depression as a substitute for personality, and believes that if the characters are bitter and morose enough, we won't notice how dull they are.
  6. The charisma of such actors as Gandolfini, Pitt, Liotta and Jenkins depends largely on their screen presences and our memories of them in better roles.
  7. Lacks some of the idiocy of your average teenage rom-com. But it doesn't bring much to the party. It sort of ambles along, with two nice people at the center of a human scavenger hunt. It's not much of a film, but it sort gets you halfway there, like a Yugo.
  8. This is a lightweight, cliché-riddled origins story that veers between inside-joke comedy, ponderous redemption story lines and admittedly nifty CGI sequences that still seem relatively insignificant compared to the high stakes and city-shattering destruction that take place in most of the “Avengers” movies.
  9. Grass is not much as a documentary. It's a cut-and-paste job, assembling clips from old and new anti-drug films and alternating them with pro-drug footage from the Beats, the flower power era and so on.
  10. Nymphomaniac Part 1 grows flat and monotonous, and comes across as just what it is: half a film.
  11. In the end, I'm conflicted about the film. As an accessible family film, it delivers the goods. But it lives in the shadow of "March of the Penguins." Despite its sad scenes, it sentimentalizes.
  12. You know all those horror stories about a cigar-chomping producer who screens a movie and says they need to lose 15 minutes and shoot a new ending? Wedding Crashers needed a producer like that.
  13. There is a certain lackluster feeling to the way the key characters debate the issues, and perhaps that reflects the suspicion of the filmmakers that they have hitched their wagon to the wrong cause.
  14. Brando doesn't so much walk through this movie as coast, in a gassy, self-indulgent performance no one else could have gotten away with.
  15. The movie was more of a revue than a narrative, more about moments than an organizing purpose, and cute to the point that I yearned for some corrosive wit from its second cousin, the Monty Python universe.
  16. Pitch Perfect 2 strains to find some plot conflicts while balancing the line between satire and rousing musical numbers.
  17. The special effects are all there, nicely in place, and the production values are sound, but the movie is dead in the water. It tells an amazing and preposterous story, and it seems bored by it.
  18. Unfortunately, the film’s more moving and memorable moments are mixed in with a king-size (if not quite K2-size) jumble of too much information.
  19. It’s fascinating and boring, intriguing and exasperating, but ultimately it felt like a jambalaya of ideas that didn’t quite mesh into a satisfying experience.
  20. The movie itself isn't as interesting as the conversations you can have about it. It duplicates Thomas' miserable world so well we want to escape it as urgently as Thomas does.
  21. This movie, for all its noble intentions, is a bore.
  22. If I found it creepy beyond all reason, that is no doubt because I have been hopelessly corrupted by the decadent society I inhabit.
  23. The deeper we go into Dana Nachman’s unquestioning, feature-length cheerleading film, the more uncomfortable I felt about the reaction of one person to that magical and overwhelming day. Miles.
  24. Children should not be allowed within a mile of this film, but it will appeal to "Jackass" fans and other devotees of the joyously ignorant.
  25. A Burning Hot Summer failed to persuade me of any reason for its existence.
  26. We're left with a promising idea for a comedy, which arrives at some laughs but never finds its destination.
  27. There’s some first-rate camerawork aboard the sub, that strong lead performance from Law and one nifty plot twist. It’s a shame the script gives us one of the most incompetent and ridiculous submarine crews this side of “Down Periscope.”
  28. A step or two down from the first and second, but it has some very funny moments, and maybe that is all we hope for.
  29. As a movie, Veronica Mars looks and feels, well, like a glorified TV movie, with just decent production values, mostly unexceptional performances and ridiculous plot developments no more innovative than you’d see on a dozen network TV detective shows.
  30. A conventional film for an unconventional actor.

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