For 7,613 reviews, this publication has graded:
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62% higher than the average critic
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2% same as the average critic
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36% lower than the average critic
On average, this publication grades 1.4 points higher than other critics.
(0-100 point scale)
Average Movie review score: 66
| Highest review score: | Autumn Tale | |
|---|---|---|
| Lowest review score: | Car 54, Where Are You? |
Score distribution:
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Positive: 5,116 out of 7613
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Mixed: 1,475 out of 7613
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Negative: 1,022 out of 7613
7613
movie
reviews
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Reviewed by
Michael Phillips
Despite the proficient technique, after a while you may feel you're watching a particularly scenic snuff film.- Chicago Tribune
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Reviewed by
Sid Smith
At times playful and inventive, at others simplistic and silly. Ultimately, Werner Herzog's free-form, idiosyncratic devolution of the documentary is beautiful but dull.- Chicago Tribune
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It's true that this sugarcoated romp doesn't take itself, or its source material, particularly seriously, but if you're confident your grasp of European history can withstand the assault of two hours of bubbly entertainment, Marie Antoinette guarantees you a good time.- Chicago Tribune
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Reviewed by
Michael Phillips
Laughing at the freaks and then feeling bad about it is the sole reason for the existence of this pale little film.- Chicago Tribune
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Reviewed by
Michael Phillips
There's a tremendous amount of material here, and the script covers too much of it, often confusingly.- Chicago Tribune
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Reviewed by
Michael Wilmington
A modernized version of that great sentimental horse movie, 1943's "My Friend Flicka," and it comes with the shiny trappings, high professionalism and glamorous accessories you might expect...Something is missing though.- Chicago Tribune
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Reviewed by
Michael Phillips
Many, I suspect, will fall for The Prestige and its blend of one-upsmanship and science fiction. I prefer "The Illusionist," the movie that got here first.- Chicago Tribune
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Reviewed by
Michael Phillips
An exorcism movie for the rest of us, the gripping German drama Requiem contains not a single special effect. It doesn't need one. It has terrific actors fully invested in a casual-seeming, docudramatic brand of storytelling, notably Sandra Hueller.- Chicago Tribune
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Michael Wilmington
The French filmmakers lend it their special aesthetic/dramatic sense, and the Masai actors ground the story in everyday realism and humanity. Together, they create a film and a legend to remember.- Chicago Tribune
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Reviewed by
Michael Wilmington
The film's most memorable performance is in another supporting role, by Alan Cumming as hapless Frandsen, Olaf's sympathetic neighbor and a hopelessly inept farmer.- Chicago Tribune
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Michael Phillips
The film has a compelling way about it. All five of the immediate Block family members emerge in full and affecting portraits.- Chicago Tribune
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Reviewed by
Michael Phillips
Levinson has written and directed in many genres. But rarely has he made a film as indecisive and diffident as Man of the Year.- Chicago Tribune
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Reviewed by
Michael Phillips
Deliver Us From Evil has a few things wrong with it, including an egregious musical score, but without resorting to sucker punches, it takes your breath away while making your skin crawl.- Chicago Tribune
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Reviewed by
Michael Phillips
Though stylistically all over the place, it's not without interest.- Chicago Tribune
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Reviewed by
Michael Wilmington
It's crazy, dangerous and sometimes gorgeous: a feast of nuttiness that takes you, for a while, over the edge.- Chicago Tribune
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Reviewed by
Michael Phillips
A half-silly, half-earnest indie with the soul of a John Hughes-era sex comedy.- Chicago Tribune
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It's better than some James Bond movies--no matter what your age.- Chicago Tribune
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Reviewed by
Michael Phillips
Unnervingly good, Little Children is one of the rare American films about adultery that feels right--dangerous, hushed, immediate.- Chicago Tribune
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Reviewed by
Michael Phillips
The Departed exists in a movie-place about as far from personal statements as a storied director can get. Maybe those days for Scorsese are long gone. But Scorsese's sense of craft remains sure.- Chicago Tribune
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The only two onscreen items with any star quality belong to Simpson, and they're barely contained in shirts that seem to be holding on for dear life. Comedy fans, beware; breast fans, rejoice!- Chicago Tribune
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Reviewed by
Michael Wilmington
If you haven't gotten hooked already on Michael Apted's series--collectively, one of the great documentaries in the history of the cinema--you should prepare yourself for the latest installment, 49 Up.- Chicago Tribune
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Reviewed by
Michael Phillips
Guaranteed to make you think twice about what you're paying for what you're drinking.- Chicago Tribune
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Reviewed by
Michael Phillips
It's refreshing to see a non-mainstream movie that wears its heart and lust on its sleeve, and has anything but violence on its mind.- Chicago Tribune
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Reviewed by
Michael Wilmington
The film's triple thesis is that elections are run badly, Democrats are often clueless and Republicans are clever. Maybe--but that still leaves too many unanswered questions.- Chicago Tribune
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Michael Phillips
The film goes pretty easy on the royals in the end, and it's a flattering portrait of Blair. But it's not credulous. Frears may swim in the political mainstream with The Queen but he does so like a champion channel crosser.- Chicago Tribune
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Sometimes you want to buy an extra-large popcorn and settle in for a big budget Hollywood blockbuster replete with entertaining explosions, undemanding dialogue and completely unrealistic action sequences. If all that sounds like gloriously uncomplicated fun, The Guardian is your movie.- Chicago Tribune
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Reviewed by
Michael Wilmington
Martin Lawrence and Ashton Kutcher may seem like an odd-sounding comedy team, but in some weird way, they click as voice-actors and cartoon buddies in Open Season.- Chicago Tribune
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This ultimately disappointing comedy starts reasonably strong, delivers a few good laughs, then rolls over and plays dead.- Chicago Tribune
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Reviewed by
Michael Wilmington
A delicately crafted, gently inflected, lovely little movie about the need for love, directed and co-written by Singapore's Eric Khoo ("Mee Pok Man").- Chicago Tribune
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The movie is awash in great performances by actors known and otherwise.- Chicago Tribune
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