Chicago Sun-Times' Scores

  • Movies
  • TV
For 4,580 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 The Last Emperor
Lowest review score: 0 Wolf Creek
Score distribution:
4,580 movie reviews
  1. The dialogue in places leans toward the banal, but a couple of plot twists help hold interest.
  2. Why, oh, why, was this movie necessary?
  3. I seem to be developing a rule about talking animals: They can talk if they're cartoons or Muppets, but not if they're real.
  4. Desperately unfunny.
  5. So bad in so many different ways that perhaps you should see it, as an example of the lowest slopes of the bell-shaped curve.
  6. The result is not a movie that is very good, exactly, but it's entertaining and funny.
  7. A slick production of a lame script, which kills time for most of its middle half-hour. If anyone in the plot had the slightest intelligence, the story would implode.
  8. New Year's Eve is a dreary plod through the sands of time until finally the last grain has trickled through the hourglass of cinematic sludge. How is it possible to assemble more than two dozen stars in a movie and find nothing interesting for any of them to do?
  9. The racing is spectacular, especially when you consider director Courtney Solomon’s claim that no CGI was used in the crash scenes... Solomon wanted to put the audience in the middle of events and inside the car; he certainly does pull that off. Believe me, your head will spin. After a while it all becomes mind-numbing.
  10. Doesn't have anything wrong with it that couldn't be fixed by adding Ebenezer Scrooge and Bad Santa to the cast. It's a holiday movie of stunning awfulness that gets even worse when it turns gooey at the end.
  11. The actors cannot be faulted. They bring more to the story than it really deserves.
  12. It's a shaky-cam meander through an unconvincing relationship, with detours considering the process of making the film. At 91 minutes, it seems very long.
  13. Well, you can't fault the actors. That must mean it's the fault of the writer and director. Take is a monotonous slog through dirgeland, telling a story that seems strung out beyond all reason, with flashbacks upon flashbacks delaying interminably the underwhelming climax.
  14. The movie doesn't understand that embarrassment comes in a sudden painful flush of realization; drag it out, and it's not embarrassment anymore, but public humiliation, which is a different condition, and not funny.
  15. House of the Sleeping Beauties has missed its ideal release window by about 40 years. It might -- might -- have found an audience in that transitional period between soft- and hard-core.
  16. Assembles the building blocks of idiot-proof slasher movies: Stings, Snicker-Snacks, false alarms and point-of-view baits-and-switches.
  17. Here's a movie without an ounce of human kindness, a sour and mean-spirited enterprise so desperate to please, it tries to be a yukky comedy and a hard-boiled action picture at the same time.
  18. These actors, alas, are at the service of a submoronic script and special effects that look like a video game writ large.
  19. If The Informers doesn't sound to you like a pleasant time at the movies, you are right. To repeat: dread, despair and doom. It is often however repulsively fascinating and has been directed by Gregor Jordan as a soap opera from hell, with good sets and costumes.
  20. What we basically have here is a license for the filmmakers to do whatever they want to do with the special effects, while the plot, like Wile E. Coyote, keeps running into the wall.
  21. The Last Airbender is an agonizing experience in every category I can think of and others still waiting to be invented.
  22. Joe Dirt is so obviously a construction that it is impossible to find anything human about him; he is a concept, not a person.
  23. It involves teenagers who have never existed, doing things no teenager has ever done, for reasons no teenager would understand. Of course, it's aimed at the teenage market.
  24. A dead zone of comedy. The concept is exhausted, the ideas are tired, the physical gags are routine, the story is labored, the actors look like they can barely contain their doubts about the project.
  25. It's another overwrought clunker like "How the Grinch Stole Christmas," all effects and stunts and CGI and prosthetics, with no room for lightness and joy.
  26. An inept assembly of ill-matched plot points, meandering through a production that has attractive art direction (despite the immobile mouths).
  27. A perfectly good idea for a comedy, but it just plain doesn't work. It's dead in the water. I can imagine it working well in a different time, with a different cast, in black and white instead of color--but I can't imagine it working like this.
  28. "Deep Rising" was one of the worst movies of 1998. Virus is easily worse.
  29. Underclassman doesn't even try to be good. It knows that it doesn't have to be. It stars Nick Cannon, who has a popular MTV show, and it's a combo cop movie, romance, thriller and high school comedy. That makes the TV ads a slam dunk; they'll generate a Pavlovian response in viewers conditioned to react to their sales triggers (smartass young cop, basketball, sexy babes, fast cars, mockery of adults).
  30. Stupefying dimwitted.

Top Trailers