Chicago Sun-Times' Scores

  • Movies
  • TV
For 5,832 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 points higher than other critics. (0-100 point scale)
Average Movie review score: 71
Highest review score: 100 Bleak Moments
Lowest review score: 0 I Spit on Your Grave
Score distribution:
5832 movie reviews
  1. One view of what happened that day, a very effective one. And as an act of filmmaking, it is superb: A sense of immediate and present reality permeates every scene.
  2. The movie makes no attempt to psychoanalyze its Kit Carruthers, and there are no symbols to note or lessons to learn. What comes through more than anything is the enormous loneliness of the lives these two characters lived, together and apart.
  3. This film embodies ideas. After the immediate experience begins to fade, the implications remain and grow.
  4. Her
    Her works as a real romance, and as a commentary on the ways technology connects everyone to the world but also isolates us from legitimate, warm human contact.
  5. Routinely called Tarkovsky's reply to Kubrick's "2001" -- But Kubrick's film is outward, charting man's next step in the universe, while Tarkovsky's is inward, asking about the nature and reality of the human personality.
  6. This is one of the best films of the year, an unflinching lament for the human condition.
  7. This time the dad is the hero of the story, although in most animation it is almost always the mother.
  8. Little by little, detail by detail, This Is Not a Film leads to a final scene of overwhelming power. I don't think it was even planned - no more than Panahi expected the little actress to take the cast off her arm. It simply happens, and then the film is over, having nothing more to say. Because, after all, it is not a film.
  9. It is one of the year's best films.
  10. But King Kong is more than a technical achievement. It is also a curiously touching fable in which the beast is seen, not as a monster of destruction, but as a creature that in its own way wants to do the right thing.
  11. Either Being John Malkovich gets nominated for best picture, or the members of the Academy need portals into their brains.
  12. The film has the materials for a lifetime project; like the "7-Up" series, this is a conversation that could be returned to every 10 years or so, as Celine and Jesse grow older.
  13. Grown-ups are likely to be surprised by how smart the movie is, and how sneakily perceptive.
  14. The best performance in the film is by Arestrup as Cesar. You may remember him from Audiard's "The Beat That My Heart Skipped" (2005), where he played a seedy but confident father who psychically overshadows his son.
  15. Oh, what a lovely film. I was almost hugging myself while I watched it.
  16. Anderson shoots and paces Phantom Thread almost like a 1950s mystery, and there ARE some dark elements of intrigue in the story — but this is not a Hitchcockian tale of lust and betrayal and murder. It’s a fascinating examination of an obsessive-compulsive, maddeningly self-centered, magnificently talented man .
  17. This film is delightful in the way it finds its own way to tell its own story. There was no model to draw on, but Shari Springer Berman and Robert Pulcini, who wrote and directed it, have made a great film by trusting to Pekar's artistic credo.
  18. Allen's writing and directing style is so strong and assured in this film that the actual filmmaking itself becomes a narrative voice.
  19. At a time when too many movies focus every scene on a $20 million star, an Altman film is like a party with no boring guests.
  20. This is a masterful and heartbreaking film, and it does honor to the memory of the victims.
  21. It’s all perfectly, wonderfully, fantastically crazy. Amidst all those ingenious, power-packed road warrior sequences, Fury Road contains a surprising amount of depth and character development.
  22. Franju constructs an elegant visual work; here is a horror movie in which the shrieks are not by the characters but by the images.
  23. Some of the best moments in Downhill Racer are moments during which nothing special seems to be happening. They're moments devoted to capturing the angle of a glance, the curve of a smile, an embarrassed silence. Together they form a portrait of a man that is so complete, and so tragic, that "Downhill Racer" becomes the best movie ever made about sports -- without really being about sports at all.
  24. I enjoyed The Truman Show on its levels of comedy and drama; I liked Truman in the same way I liked Forrest Gump--because he was a good man, honest, and easy to sympathize with.
  25. By the end of Capturing the Friedmans, we have more information, from both inside and outside the family, than we dreamed would be possible. We have many people telling us exactly what happened. And we have no idea of the truth. None.
  26. American Hustle is the best time I’ve had at the movies all year, a movie so perfectly executed, such wall-to-wall fun, so filled with the joy of expert filmmaking on every level I can’t imagine anyone who loves movies not loving THIS movie.
  27. Intended as a thriller of sorts, although Antonioni is, as always, too deeply involved in the angst of his characters to bother much with the story. (Review of Original Release)
  28. Paterson is a fable, brimming with symbolism and inside literary references and nods to playwrights and authors from decades and centuries gone by — but it’s also authentic and plausible, in its own weird way.
  29. If I were asked to say with certainty which movies will still be widely known a century or two from now, I would list "2001,'' "The Wizard of Oz,'' Keaton and Chaplin, Astaire and Rogers, and probably "Casablanca'' ... and "Star Wars,'' for sure.
  30. While so many films about coming of age involve manufactured dilemmas, here is one about a woman who indeed does come of age, and magnificently.

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