Chicago Sun-Times' Scores

  • Movies
  • TV
For 4,770 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 9.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 71
Highest review score: 100 56 Up
Lowest review score: 0 Slackers
Score distribution:
4,770 movie reviews
  1. The film ends up feeling more like a very long music video.
  2. I liked the music. I would rather have the movie's soundtrack than see Groove again--or at all.
  3. For one of the few times in Eastwood’s career as a director, he seems indecisive about what kind of movie he wanted to make.
  4. Not very funny, and maybe couldn't have been very funny no matter what, because the pieces for comedy are not in place.
    • 54 Metascore
    • 50 Critic Score
    But the later Rocky movies have been low on inspiration and eager to repeat the same formula, in which everything leads up to a climactic fight scene and a triumphant fadeout. Stallone is smart enough that he could have made this series into a meditation on sports celebrity in America, but that theme has always been at the edge of the stories; the formula takes center ring. If Rocky seems to be running on autopilot, that's also the case for the other characters. [16 Nov 1990, p.49]
    • Chicago Sun-Times
  5. The problem with Die, Mommie, Die, a drag send-up of the genre, is that it spoils the fun by making it obvious.
  6. Unfortunately, I was also convinced that trapped within this 98-minute film is a good 30-minute news report struggling to get out. Shearer, who is bright and funny, comes across here as a solemn lecturer.
  7. There is noting quite so awkward as a film that is one thing while it pretends to be another.
  8. You have to be very talented to work with Meryl Streep. It also helps to know how to use her. The Iron Lady fails in both of these categories.
  9. All of this material, written by Seinfeld and writers associated with his television series, tries hard, but never really takes off.
  10. Sweet and warm-hearted, but there is another film with a similar story that is boundlessly better, and that is "My Dog Skip" (2000).
  11. They are, in fact, likable. That's why their comedy is so sad.
  12. Jet Lag is sort of a grown-up version of "Before Sunrise"...The difference between the two films is sort of depressing.
  13. An odd, desperate film, lost in its own audacity, and yet there are passages of surreal beauty and preposterous invention that I have to admire. The film doesn't work, and indeed seems to have no clear idea of what its job is, and yet (sigh) there is the temptation to forgive its trespasses simply because it is utterly, if pointlessly, original.
  14. Here is a 145-minute movie containing one (1) line of truly witty dialogue: "Her 40s is the last age at which a bride can be photographed without the unintended Diane Arbus subtext."
  15. It is not what's there on the screen that disappoints me, but what's not there.
  16. It’s like a low-budget, Canadian version of “Ocean’s 11,” with about half as many characters and about one-tenth the charm and style.
  17. Too clever by half. It's the worst kind of con: It tells us it's a con, so we don't even have the consolation of being led down the garden path.
  18. A high-tech and well made violent action picture using the name of Robin Hood for no better reason than that it’s an established brand not protected by copyright.
  19. The movie is too pat and practiced to really be convincing, and the progress of Ariel's relationships with the two grumps seems dictated mostly by the needs of the screenplay. But Matthau and Lemmon are fun to see together, if for no other reason than just for the essence of their beings.
  20. Parables are stories about other people that help us live our own lives. The problem with the French film Ricky is that the lesson of the parable is far from clear, and nobody is likely to encounter this situation in his own life.
  21. Intended as a farce, but lacks farcical insanity and settles for being a sitcom, not a very good one.
  22. The movie is that it's all surface and no substance. Not even the slightest attempt is made to suggest that the film takes its own story seriously. Everything is style. The performances seem deliberately angled as satire.
  23. If the stream-of-consciousness, imagery-trumps-everything films of Terrence Malick tend to try your patience, this beautifully, beatifically boring imitation by a Malick protégé might be more than the better angels of your nature can endure.
  24. Stick It uses the story of a gymnast's comeback attempt as a backdrop for overwrought visual effects, music videos, sitcom dialogue and general pandering. The movie seems to fear that if it pauses long enough to actually be about gymnastics, the audience will grow restless.
  25. Never quite attains takeoff velocity.
  26. This Carrie comes off like a Lifetime film, adding little new and nothing substantial to improve on DePalma’s classic.
  27. It's a shaggy ghost story, an exercise in style, a film made with a certain breezy contempt for audiences.
  28. Despite its cast and convincing backdrop, Stonehearst Asylum is a tame entry in today’s roster of horror films.
  29. The result is that we feel deliberately distanced from the film. It is not so much an exercise in style as an exercise in search of a style. The story doesn't involve us because we can't follow it, and we doubt if the characters can, either.

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