Chicago Sun-Times' Scores

  • Movies
  • TV
For 5,510 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 8.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 71
Highest review score: 100 Me and You and Everyone We Know
Lowest review score: 0 Chaos
Score distribution:
5510 movie reviews
  1. This version of The Thing, directed by Matthijs van Heijningen Jr., provides such graphic and detailed views of the creature that we are essentially reduced to looking at special effects, and being aware that we are. Think how little you ever really saw in the first "Alien" movie, and how frightening it was.
  2. At times The Fifth Estate seems as cutting-edge as the 21st century techno-info revolution it portrays. On other occasions... it’s almost like an expensive “Funny or Die” bit.
  3. American Reunion has a sense of deja vu, but it still delivers a lot of nice laughs.
  4. The powerfully choreographed dances also address the idea that artistic vision is a potent antidote to repression.
  5. Tornatore’s ideas about art, trust and intimacy are curious, even if they do not quite click.
  6. It is encouraging that well-crafted thrillers are still being made about characters who have dialogue, identities, motives and clean shirts.
  7. A movie that contains one funny scene and 91 minutes of running time to kill.
  8. Look at the cast and credits to form an idea of the directors and actors at work here. By its nature, New York, I Love You can't add up. It remains the sum of its parts. If one isn't working for you, wait a few minutes, here comes another one. New Yorkers, I love you.
  9. Sam and Frankie are certainly interesting enough that a film about them coming to grips with this hidden truth would have been justified. It also would probably have been harder to write than this one, so People Like Us marches on with a coy little smile, toying with Frankie and the audience.
  10. Texas Killing Fields begins along the lines of a police procedural and might have been perfectly absorbing if it had played by the rules: strict logic, attention to detail, reference to technical police work. Unfortunately, the movie often seems to stray from such discipline.
  11. The most audacious, implausible, cheerfully offensive, hyperactive action picture I've seen since, oh, "Sin City," which in comparison was a chamber drama.
  12. It's pretty trashy and sometimes stupid. But there was never a moment when I wasn't entertained on one level or another.
  13. It all comes down to whether you can tolerate Leon Barlow. I can't. Big Bad Love can, and is filled with characters who love and accept him, even though he is a full-time, gold-plated pain in the can.
  14. There's a good story buried somewhere in this melee.
  15. Sometimes it works to show their lips moving (it certainly did in "Babe"), but in Good Boy! the jaw movements are so mechanical it doesn't look like speech, it looks like a film loop.
  16. Not one of the great dog movies, but it's a good one, abandoning wall-to-wall cuteness for a drama about a homeless puppy.
  17. Unfortunately, the parts of the movie that are truly good are buried beneath the deadening layers of thriller cliches and an unconvincing love story.
  18. Sarah Michelle Gellar, the nominal star, has been in her share of horror movies, and all by herself could have written and directed a better one than this.
  19. Most of the running time is occupied by action sequences, chase sequences, motorcycle sequences, plow-truck sequences, helicopter sequences, fighter-plane sequences, towering android sequences and fistfights. It gives you all the pleasure of a video game without the bother of having to play it.
  20. Watching this film was a cheerless exercise for me. The characters are manic and idiotic, the dialogue is rat-a-tat chatter, the action is entirely at the service of the 3-D, and the movie depends on bright colors, lots of noise and a few songs in between the whiplash moments.
  21. Hancock is a lot of fun, if perhaps a little top-heavy with stuff being destroyed. Smith makes the character more subtle than he has to be, more filled with self-doubt, more willing to learn.
  22. Shapiro fails to sell Shavitz as the “wise and wry, ornery and opinionated” figure the press notes promise. No opinion, wise or otherwise, is uttered by this rustic quasi-eccentric, let alone a green ethos.
  23. The visual style is all Zeffirelli, and it is interesting that the opera-within-the-film is not skimped on, as is usually the case in films containing scenes from other productions.
  24. More than anything else, I responded to the performances. Feature films may be fiction, but they are certainly documentaries showing actors in front of a camera. Both Dafoe and Gainsbourg have been risk takers, as anyone working with von Trier must be. The ways they're called upon to act in this film are extraordinary. They respond without hesitation. More important, they convince.
  25. Four Brothers works as an urban thriller, if not precisely as a model of logic.
  26. Caine, who has never been much for the stage, is a superb screen actor, so good his master classes on acting for the camera are on DVD. Here, dry and clipped, biting and savage, he goes for the kill.
  27. The suspense screws up tighter than a drum-head. The characters remain believable; we have a conflict of personalities, not stereotypes. The action coexists seamlessly with the message.
  28. Walking out of the screening, I was thinking: Elizabeth Hurley for girlfriend, Courtney Love for Satan.
  29. How can one man juggle two women, possible expulsion, Mafia baseball bats and the meaning of life, while on acid? This is the kind of question only a Toback film thinks to ask, let alone answer.
  30. The movie exhibits the usual indifference to the issues involved. Although it was written and directed by Elie Chouraqui, a Frenchman, it is comfortably xenophobic. Most Americans have never understood the differences among Croats, Serbs and Bosnians, and this film is no help.

Top Trailers