Chicago Reader's Scores

  • Movies
For 6,312 reviews, this publication has graded:
  • 42% higher than the average critic
  • 2% same as the average critic
  • 56% lower than the average critic
On average, this publication grades 4.9 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 I Stand Alone
Lowest review score: 0 Old Dogs
Score distribution:
6312 movie reviews
  1. One of Sidney Lumet's best jobs of directing and one of Al Pacino's best performances (as a bisexual bank robber) come together in a populist thriller with lots of New York juice. Its details are stronger than its structure—the film loses some of its energy before the end—but it's an astonishing fusion of suspense and character, powered by superior ensemble acting.
  2. Eastwood essentially uses the Lady Chablis the same way he did a few extended Charlie Parker solos in Bird--as unbridled, inventive improvisations that challenge the well-rehearsed "head" arrangements of everyone else.
  3. May have some of the trappings of an exotic thriller, but it's basically a character study.
    • 73 Metascore
    • 80 Critic Score
    Has its faults, but it's Barbet Schroeder's most relevant and interesting film in over a decade.
    • 79 Metascore
    • 80 Critic Score
    Viewers hoping for new revelations will have to be content with learning that Hitler suffered from severe stomach problems. Yet there's much more here than a trickle of unsatisfying tidbits.
  4. Gutsy romance-drama that breaks a cardinal rule of storytelling and pop psychology: its iconic lovers aren't forced by a tragedy to learn that they shouldn't depend on each other to feel whole.
  5. Fascinating oddity.
  6. This is a powerful and persuasive look at an ethnic community and what makes it tick.
  7. Illuminating with their energy and wit.
  8. This is a drama of shifting values and compromised ideals, arriving at a view of life that's wise, complicated, and tinged with melancholy.
  9. The film tends to groan under the weight of his obsessions -- and his sister's fixation on circumcising her son -- yet for much of the 95-minute running time the chemistry between Attal's vulnerable husband and Gainsbourg's sweet, beguiling wife is irresistible. The terrific score is by jazz pianist Brad Mehldau.
  10. Into this cauldron walks the title character, a gentle Algerian refugee with his own history of terrible loss, and as he tries to take over the dead woman's class, his rocky relationship with the kids pushes both him and them to new levels of empathy, understanding, and forgiveness.
  11. The virtues on display are very much those of the heroine: generosity, imagination, charm, and the capacity to keep an audience mesmerized with a good story.
  12. Despite some signs of muddle and uncertainty, this is a surprisingly strong picture about a convict (Hoffman) on parole in LA learning what the supposedly “normal” world is all about.
  13. This beautifully understated feature (2004) revolves around sex, but it's neither erotic nor puritanical; its young characters are governed by their urges, but the experience itself seems as neutral and mysterious as sleep.
  14. Their gross-out humor is basically sweet tempered, for all its tweaking of PC attitudes, and though this film looks slapdash, its script (by the Farrellys, Ed Decter, and John J. Strauss) is surprisingly well put together.
  15. Even in its sanitized state, this movie about the generational revolt that reinvigorated Disney’s animation department in the 1980s and ’90s is fascinating, thick with studio intrigue and lavishly illustrated with archival sketches and test animations.
  16. Despite the predictable mix of humor, musical numbers, and celebrity cameos (Art Carney, Liza Minnelli, Gregory Hines, Joan Rivers, etc), the movie is breezily fun and every bit as entertaining as its predecessors.
  17. A more visually conscious stylist than most Italian commercial directors of the period, Lattuada remains largely unknown in the U.S., though in Europe he's been touted as the great eclectic talent of the postwar Italian cinema.
  18. Superior summer entertainment.
  19. The movie's first half is largely free of dialogue, playing like silent comedy, while the second act offers a breathtaking tour of the cosmos.
  20. Not first-rank Scorsese, but still impressive.
  21. Like Wenders's other road movies, this is largely about the spaces between people and the words they speak—Antonioni updated and infused with German romanticism; the various means of indirection through which the hero communicates with his son (Hunter Carson) and wife (Nastassja Kinski) constitute a striking motif.
    • 64 Metascore
    • 80 Critic Score
    Like Anthony Mann's "The Naked Spur" (1953) or "Man of the West" (1958), the movie draws on the terrifying beauty of the natural world and generates tension from the volatile dynamics of a carefully observed group.
  22. Upon closer inspection its story and characters grow more mysterious, ultimately bordering on the unfathomable.
  23. It's also quite energetic -- there isn't a boring shot anywhere, and writer-director Schnabel is clearly enjoying himself as he plays with expressionist sound, neo-Eisensteinian edits, and all sorts of other filmic ideas.
  24. Deep and textured drama.
  25. What promises to be a standard postmortem on 60s ideology becomes a thoughtful essay on the choices we all make between work, family, and personal freedom.
  26. The compositions and camera movement are both precise and elegant.
  27. An exhilarating and terrifying journey through youth-culture hell.

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