Chicago Sun-Times' Scores

  • Movies
  • TV
For 8,158 reviews, this publication has graded:
  • 73% higher than the average critic
  • 2% same as the average critic
  • 25% lower than the average critic
On average, this publication grades 6.1 points higher than other critics. (0-100 point scale)
Average Movie review score: 71
Highest review score: 100 Falling from Grace
Lowest review score: 0 Jupiter Ascending
Score distribution:
8158 movie reviews
  1. Whether you’re a diehard baseball fan (and, in particular, a White Sox fan) who recognizes everything from the aforementioned Andy the Clown to the welcome appearance of slugger Lamar Johnson to the references to the Bard’s Room to a poignant interview with Darryl Strawberry or just a casual baseball observer, The Saint of Second Chances has a universal appeal in its core story.
  2. While the documentary doesn’t provide conclusive proof of a link between any covert government operations and Manson, it’s at least fodder for lively debate (not to mention a Netflix documentary).
  3. A surprisingly funny movie, the best of the 1970s recycling jobs, with one laugh ("Are you OK, little pony?") almost as funny as the moment in "Dumb and Dumber" when the kid figured out his parakeet's head was Scotch-taped on.
  4. Filled with unexpected facts.
  5. Firth plays George superbly, as a man who prepares a face to meet the faces that he meets.
  6. Despite its predictable philosophy, however, Nell is an effective film, and a moving one. That is largely because of the strange beauty of Jodie Foster's performance as Nell, and the warmth of the performance by Liam Neeson, as a doctor who finds himself somehow responsible for her.
  7. It is an impressively staged and appropriately rain-soaked, mud-splattered, bone-crunching tale, more violent and filled with rougher language than its predecessor, if not quite as powerful or moving.
  8. This movie by its nature is not thrilling, but it is very genuinely interesting, and that is rare.
  9. This Apple TV+ original film, directed by Jon S. Baird, doesn’t attempt to replicate the entertainingly addictive block-stacking puzzle game because I don’t know how you’d make a movie out of that; it’s a fictionalized and creatively stylized origins story that plays like a Cold War thriller version of “The Social Network.”
  10. This is a rare fight movie in which we don't want to see either fighter lose. That brings such complexity to the final showdown that hardly anything could top it - but something does, and Warrior earns it.
  11. In his dynamic and revealing documentary Finding Fela!, director Alex Gibney captures the many sides of Afrobeat king Fela Kuti, a complex character who is at once inspiring and vexing.
  12. In the hands of director and Stevenson High School grad Gene Stupnitsky (“Good Boys”), who co-wrote the screenplay with John Phillips, this is a hit-and-miss romp with just enough wit and heart to carry the day over the utterly predictable plot and the occasional bit of physical comedy that misses the mark.
  13. A creepy documentary with all the elements of a horror film about a demented serial killer, and an extra ingredient: This one is real.
  14. I'd rather August Rush went the whole way than just be lukewarm about it. Yes, some older viewers will groan, but I think up to a certain age, kids will buy it, and in imagining their response, I enjoyed my own.
  15. This is a sweet, bittersweet comedy, well-executed if perhaps a little heavy on anecdotage. You know who might have made it in the old days? I kept thinking of Woody Allen. You don't know what you want. Woody knows what you want.
  16. Seth Rogen and Elizabeth Banks make a lovable couple; she's pretty and goes one-for-one on the bleep language, and Rogen, how can I say this, is growing on me, the big lug.
  17. A Quiet Place doesn’t have the pin-you-to-your-seat originality of “Get Out,” or the psychological depth and pure scare impact of “Lights Out” or the wall-to-wall intensity of “Don’t Breathe,” but it is one of the smarter and more involving horror films of the last few years.
  18. It’s an invaluable look at a complicated and often misunderstood artist who is more than the usual talking points of “Nothing Compares 2 U” and “ripped up a picture of the pope on ‘Saturday Night Live.’ ”
  19. The Enforcer is the best of the Dirty Harry movies at striking a balance between the action and the humor. Sometimes in the previous films we felt uneasy laughing in between the bloodshed, but this time the movie's more thoughtfully constructed and paced.
  20. Aladdin is good but not great, with the exception of the Robin Williams sequences, which have a life and energy all their own.
  21. The Laughing Policeman is an awfully good police movie: taut, off-key, filled with laconic performances. It provides the special delight we get from gradually unraveling a complicated case.
  22. Shoot this film in black and white and cast Barbara Stanwyck as Elena, and you'd have a 1940s classic.
  23. First They Killed My Father occasionally strays into overly sentimental territory — and with a running time of 2 hours, 16 minutes, the storyline stalls a bit at times. Mostly, though, this is an accomplished and moving and solid drama from a director who seems on the verge of giving us a great movie sometime soon.
    • Chicago Sun-Times
  24. Although it is not a great movie, it contains some moments when the audience is likely to think, yes, being 16 was exactly like that.
  25. One aspect of the film is befuddling. Alan Krumwiede (Jude Law) is a popular blogger with conspiracy theories about the government's ties with drug companies. His concerns are ominous but unfocused. Does he think drug companies encourage viruses? The blogger subplot doesn't interact clearly with the main story lines and functions mostly as an alarming but vague distraction.
  26. It doesn't have the inspired perfection of Stranger Than Paradise, in which every shot seemed inevitable. But it's a good movie, and the more you know about movies, the more you're likely to like it.
  27. This understated documentary, though, has no agenda to shame any one family or agency.
  28. When Alone in Berlin reaches the end of its journey, it’s the performances of Gleeson and Thompson that ensure we’ll never forget the bravery of Otto and Anna.
  29. This is a rip-snorting adventure fantasy for families, especially the younger members who are not insistent on continuity. Director Michael Apted may be too good for this material, but he attacks with gusto.
  30. The movie is essentially a filmed stage play, one of those idea-plays like Shaw liked to write, in which men and women ponder their differences and complexities.

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