Chicago Sun-Times' Scores

  • Movies
  • TV
For 4,796 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 Leopard (re-release)
Lowest review score: 0 Jupiter Ascending
Score distribution:
4,796 movie reviews
  1. Essentially an interlacing of irony and gotcha! Scenes.
  2. Nearly everything in this movie feels borrowed from other movies and ever so slightly reshaped, and almost never for the better.
  3. Here is a film that begins with merciless comic savagery and descends into merely merciless savagery. But wow, what an opening.
  4. Although Jack Kerouac's On the Road has been praised as a milestone in American literature, this film version brings into question how much of a story it really offers.
  5. Although Catherine Hardwicke, the director of Lords of Dogtown, has a good sense for the period and does what she can with her actors, we've seen the originals, and these aren't the originals.
  6. Foster, I believe, sees right through this material and out the other side, and doesn't believe in a bit of it.
  7. A splendid movie while its hero is preparing for his flight and actually experiencing it, but it's not nearly as interesting once he descends to earth.
  8. I confess I felt involved in Unknown until it pulled one too many rabbits out of its hat. At some point, a thriller has to play fair.
  9. The movie sidesteps the existence of the Greek gods, turns its heroes into action movie cliches and demonstrates that we're getting tired of computer-generated armies.
  10. There seem to be two movies going on here at the same time, and December Boys would have been better off going all the way with one of them.
    • 56 Metascore
    • 50 Critic Score
    As amiable and formfitting as Ghostbusters II can be, it's a thin, dimly conceived affair. For all its rave-up special effects, it adds little to director Ivan Reitman's original, which itself was no fountain of wit but at least had a fresh gimmick going for it. [16 Jun 1989, p.37]
    • Chicago Sun-Times
  11. We’re just watching Jude Law, who gained some 30 pounds for this role, acting his rear end off but also spinning his wheels in a story that never amounts to more than a collection of vignettes about Dom’s life after prison.
  12. I was pleased again and again by set-ups, camera angles, lighting effects, editing rhythms and the fanciful staging of action scenes. But I never for a moment cared about the characters, and the plot was all too conveniently structured - just a guideline to the action.
  13. Working within the limitations of the star rating system, I give four stars to the subjects of this movie, and two stars to the way they have been boiled down into cute pictures and sound bites.
  14. A mostly underwhelming film, with underdeveloped characters and supercharged fight scenes that drag on forever and offer nothing new in the way of special-effects creativity.
  15. The performances by Miller and Graynor are high-spirited enough that you yearn to see them in worthier material. The potential is there. If there's anything more seductive to Manhattanites than sex, it's a cheap apartment overlooking Gramercy Park.
  16. Beloved evokes some of the fine moments in the careers of Deneuve and Marcello Mastroianni, but it doesn't re-create them.
  17. Individual moments and lines and events in I Heart Huckabees are funny in and of themselves. Viewers may be mystified but will occasionally be amused. It took boundless optimism and energy for Russell to make the film, but it reminds me of the Buster Keaton short where he builds a boat but doesn't know how to get it out of the basement.
  18. It's a showcase leading role for Parker Posey, who obviously has the stuff, and generates wacky charm. But the movie never pulls itself together.
  19. Here is a movie so concerned with in-jokes and updates for Trekkers that it can barely tear itself away long enough to tell a story. From the weight and attention given to the transfer of command on the Starship Enterprise, you'd think a millennium was ending - which is, by the end of the film, how it feels.
  20. Watching MirrorMask, I suspected the filmmakers began with a lot of ideas about how the movie should look, but without a clue about pacing, plotting or destination.
  21. Follows the "Lock, Stock" formula so slavishly it could be like a new arrangement of the same song.
  22. A clunky Western that tries so hard to be Politically Correct that although young women are kidnapped by Indians to be sold into prostitution in Mexico, they are never molested by their captors.
  23. One only wishes Walker had stronger, better developed material instead of a promising drama that eventually unravels and seems overlong even with a running time of 96 minutes.
  24. It's sweet when it should be raunchy, or vice versa, and the result is a movie that seems uneasy with itself.
  25. Either this is a tragic family or a satirical one, and the film seems uncertain which way to jump.
  26. The problem is, the story lacks originality and zest.
  27. A mild pleasure from one end to the other, but not much more. Maybe that's enough, serving as a reminder that movie comedies still can be about ordinary people and do not necessarily have to feature vulgarity as their centerpiece.
  28. Firth and Stone, appealing as they are as actors, are so disconnected as potential romantic leads it sometimes appears as if they’re barely in the same scene together.
  29. The movie is a mess: a gassy costume epic with nobody at the center.

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