Chicago Sun-Times' Scores

  • Movies
  • TV
For 4,818 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 Ray
Lowest review score: 0 Chaos
Score distribution:
4,818 movie reviews
  1. The movie was produced by Seinfeld, and protects him. The visuals tend toward the dim, the gray and the washed-out, and you wish instead of spending a year with their store-boughts, they'd spent a month and used the leftover to hire a cinematographer.
  2. You can enjoy U-571 as a big, dumb war movie without a brain in its head.
  3. Meryl Streep is indeed poised and imperious as Miranda, and Anne Hathaway is a great beauty who makes a convincing career girl. I liked Stanley Tucci, too, as Nigel... But I thought the movie should have reversed the roles played by Grenier and Baker. Grenier comes across not like the old boyfriend but like the slick New York writer, and Baker seems the embodiment of Midwestern sincerity.
  4. A disorganized, rambling and eccentric movie that contains some moments of truth, some moments of humor, and many moments of digression.
  5. The material might have promise as a black comedy, but its attempt to put on a smiling face is unconvincing.
  6. One fundamental problem with the movie is that John Travolta is seriously miscast as a nuclear terrorist. Say what you will about the guy, he doesn't come across as a heavy.
  7. I guess it's a tribute to The Man With Two Brains that I found myself laughing a fair amount of the time, despite my feelings about Martin.
  8. Writer/director Carey clearly has some talent, and she and Plaza deserve credit for never pulling their comedic punches. They’re all in. Problem is, it’s mostly a bluff.
  9. Its hero upstages anything the plot can possibly come up with.
  10. Never comes alive.
  11. Perfectly sweet and civilized.
  12. The first-time director is Mateo Gil, known for the screenplays of "Open Your Eyes," "The Sea Inside" and "Agora." Ironic, that the film's weakness is its screenplay.
  13. Not a successful movie--it's too stilted and pre-programmed to come alive--but in the center of it McDormand occupies a place for her character and makes that place into a brilliant movie of its own.
  14. Seems curiously unfinished, as if director John Landis spent all his energy on spectacular set pieces and then didn't want to bother with things like transitions, character development, or an ending.
  15. While both have Broadway-level pipes, neither has a particularly distinctive, knock-it-out-of-the park voice. It doesn’t help that the songs, while solid, become repetitive in melody. And there’s not a home run in the bunch. I walked out humming … nothing from this movie.
  16. Brad Bird’s Tomorrowland is a great-looking, old-fashioned, at times soaring adventure ultimately brought down by a needlessly convoluted plot, some surprisingly casual violence and heavy-handed lectures about how we’re our own worst enemy and we’re going to destroy the planet if we don’t get it together.
  17. Scanners is a new horror film made with enough craft and skill that it could have been very good, if it could find a way to make us care about it.
  18. The film is not a compelling drama so much as a poignant observation of a sad situation.
  19. The movie plays like the kind of line a rich older guy would lay on a teenage model,suppressing his own intelligence and irony in order to spread out before her the wonderful world he would like to give her as a gift.
  20. RED
    Red is neither a good movie nor a bad one. It features actors we like doing things we wish were more interesting.
  21. You hear some nostalgia, but with most of them you don't get the idea that if they had the chance they'd do it all again.
  22. If the movie is not original, at least it's a showcase for the actors and writers. It does not speak as well, alas, for director Jordan Melamed and his cinematographer, Nick Hay.
    • 60 Metascore
    • 50 Critic Score
    Rather than trusting in the verbal powers of this master storyteller, who requires only a desk to sit behind, Soderbergh subjects him to light-show effects, tilted camera angles and projected backdrops -- urban setting, forest, eyeball blowup. [1 August 1997, p.27]
    • Chicago Sun-Times
  23. I have never seen anything remotely approaching the mess that the new punk version of "Romeo & Juliet" makes of Shakespeare's tragedy.
  24. So determined to be clever and whimsical that it neglects to be anything else.
  25. Until the plot becomes intolerably cornball, there's charm in the story.
  26. The Humbling is a jumbled collection of scenes in which fantasy and reality intertwine in a manner I found more maddening than intriguing.
  27. Spider-Man 3 is, in short, a mess. Too many villains, too many pale plot strands, too many romantic misunderstandings, too many conversations, too many street crowds looking high into the air and shouting "oooh!" this way, then swiveling and shouting "aaah!" that way.
  28. Each scene works within itself on its own terms. But there is no whole here. I've rarely seen a narrative film that seemed so reluctant to flow. Nor perhaps one with a more accurate title.
  29. Steven Spielberg, a gifted filmmaker, should have reimagined the material, should have seen it through the eyes of someone looking at dinosaurs, rather than through the eyes of someone looking at a box-office sequel.

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