For 310 reviews, this critic has graded:
  • 65% higher than the average critic
  • 1% same as the average critic
  • 34% lower than the average critic
On average, this critic grades 4.5 points higher than other critics. (0-100 point scale)

Gene Siskel's Scores

  • Movies
  • TV
Average review score: 68
Highest review score: 100 A Clockwork Orange
Lowest review score: 0 UHF
Score distribution:
  1. Negative: 53 out of 310
310 movie reviews
    • 55 Metascore
    • 50 Gene Siskel
    With a story that is absurd every step of the way, Mr. Majestyk is turned into a hodge podge of cruel and unusual punishments.
    • 64 Metascore
    • 75 Gene Siskel
    A pretty good how-to movie as far as the CIA combating terrorism is concerned and a very good movie in terms of explaining why Harrison Ford is one of the most compelling leading men. [5 June 1992, p.C2]
    • Chicago Tribune
    • 52 Metascore
    • 50 Gene Siskel
    Martin is joyful; Chase seems depressed, and Short comes off as merely happy to be in his first movie.
    • 52 Metascore
    • 63 Gene Siskel
    A good third of this overblown movie consists of stunt-filled action sequences that turn a human story into something akin to Cannonball Run. That's too bad, because Goldberg's character is a terrible thing to waste.
    • 65 Metascore
    • 75 Gene Siskel
    Soapdish runs on longer than necessary, and not every scene is as funny as one would like, but it's funny enough to recommend. [31 May 1991, p.C]
    • Chicago Tribune
    • 79 Metascore
    • 63 Gene Siskel
    Tarantino's debut directing job acknowledges the sloppiness and silences that are typically squeezed out of most crime films, but we get the point early on and the remainder is macho posturing. [23 Oct 1992]
    • Chicago Tribune
    • 73 Metascore
    • 88 Gene Siskel
    Griffith gives the fullest performance of her career; Weaver, the most likable, even though she's the villain of the piece. Michael Nichols directs his best film in years. [23 Dec 1988, Friday, p.A]
    • Chicago Tribune
    • 57 Metascore
    • 38 Gene Siskel
    What we have here is a much less radical movie than writer Hughes probably believes he has created. Yes, he's given us an individualistic girl, but she swoons like a robot after the first reasonably human WASP or WASC asks her for a date. [2 Feb 1986]
    • Chicago Tribune
    • 77 Metascore
    • 88 Gene Siskel
    One minute into Saturday Night Fever you know this picture is onto something, that it knows what it's talking about. [15 Oct 1999, Siskel Years, p.6]
    • Chicago Tribune
    • 68 Metascore
    • 75 Gene Siskel
    A slightly more light-hearted version of the "Shine" story. [4 December 1998, Friday, p.A]
    • Chicago Tribune
    • 70 Metascore
    • 100 Gene Siskel
    One of those rare films that communicates the exquisite joy of the moviemaking process. [7 October 1994, Friday, p.B]
    • Chicago Tribune
    • 75 Metascore
    • 88 Gene Siskel
    William L. Petersen (''To Live and Die in L.A.”) gives another mesmerizing, seeming nonperformance as the brilliant agent on the trail of a serial killer who has murdered families in the South. [29 Aug 1986]
    • Chicago Tribune
    • 91 Metascore
    • 100 Gene Siskel
    This is a sumptuous work, from its unconventional title sequence of a woman dancing hard in the streets to its provocative ending with conflicting quotes from Malcolm X and Martin Luther King Jr .[30 June 1989, Friday, p.A]
    • Chicago Tribune
    • 26 Metascore
    • 75 Gene Siskel
    Not as worthless as you may have heard. [10 Sept 1993]
    • Chicago Tribune
    • 59 Metascore
    • 25 Gene Siskel
    A stupid, stylized road picture. [10 Sept 1993]
    • Chicago Tribune
    • 21 Metascore
    • 25 Gene Siskel
    [Chris Elliott]'s spoof of a young seaman's apprenticeship seems desperate as he piles special effects willy-nilly atop jibes at stupid old salts. [14 Jan 1994]
    • Chicago Tribune
    • 96 Metascore
    • 100 Gene Siskel
    There is only one problem with the excitement generated by this film. After it is over, you will walk out of the theater and, as I did, curse the tedium of your own life. I kept looking for someone who I could throw up against a wall. [8 November 1971]
    • Chicago Tribune
    • 91 Metascore
    • 100 Gene Siskel
    I have written elsewhere that love stories seem to be in short supply these days, as they have been in the last decade of American movies. . . . But the hunger for love on the screen is there, and director Spielberg gives it to us in "E.T.," and because the lovers are a little boy and a little creature, we accept it. Of such simple concepts, timeless entertainments are made.
    • 40 Metascore
    • 75 Gene Siskel
    More of a physical achievement in moviemaking than a piece of storytelling, but I do recommend it on that basis. [15 January 1999, Friday, p.A]
    • Chicago Tribune
    • 85 Metascore
    • 100 Gene Siskel
    The fans of their best work -- "Blood Simple, "Raising Arizona," "Barton Fink" -- now can add Fargo to the list, pushing the Coens to the first rank of contemporary American filmmakers. [8 March 1996, Friday, p.B]
    • Chicago Tribune
    • 79 Metascore
    • 75 Gene Siskel
    A refreshing if obvious drama. [9 June 1989, Friday, p.A]
    • Chicago Tribune
    • 80 Metascore
    • 100 Gene Siskel
    Sarandon delivers one of her very best performances; her shock at encountering the wrath of the victim's family is registered beautifully. And Sean Penn, who for too long has suffered with the label of being a "bad boy," gives an Oscar-caliber performance.[12 January 1996, Friday, p.B]
    • Chicago Tribune
    • 85 Metascore
    • 50 Gene Siskel
    Billed as one of the most frightening, depraved films ever made. Would that it were so. Instead, this is a case of much ado about nothing. [15 February 1991, Friday, p.C]
    • Chicago Tribune
    • 80 Metascore
    • 100 Gene Siskel
    More than a great love story. It's both a lighthearted and deeply impassioned inspirational lesson about life. [4 April 1986]
    • Chicago Tribune
    • 72 Metascore
    • 88 Gene Siskel
    A three-hour delight… The movie generates much of its power by being so life-affirming at a time when people feel nervous about the future. [9 Nov 1990, Friday, p.C]
    • Chicago Tribune
    • 86 Metascore
    • 88 Gene Siskel
    Huston gives one of her very best performances as a strong lady who can con almost everyone but herself. Her manner on the screen in this picture and in Woody Allen's "Crimes and Misdemeanors'' marks Huston as the one contemporary actress who comes closest to having the power of classic female dramatic stars of years past. [25 Jan 1991]
    • Chicago Tribune
    • 62 Metascore
    • 100 Gene Siskel
    A shockingly powerful screed against racism that also manages to be so well performed and directed that it is entertaining as well. [30 October 1998, Friday, p.A]
    • Chicago Tribune
    • 89 Metascore
    • 100 Gene Siskel
    All of the performances are first-rate; Pesci stands out, though, with his seemingly unscripted manner. GoodFellas is easily one of the year's best films. [21 September 1990, Friday, p.C]
    • Chicago Tribune
    • 90 Metascore
    • 100 Gene Siskel
    A joy to behold, a complex film that never loses either its sense of purpose or sense of humor. [7 February 1986, Friday, p.33]
    • Chicago Tribune
    • 78 Metascore
    • 75 Gene Siskel
    For a while, I resented the sexist, cruel behavior in the film, much of it revolving around the hazing of underclassmen. But gradually, I saw the movie turn into a brash expose of stupid adolescent traditions. [24 Sept 1993]
    • Chicago Tribune

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