Chicago Sun-Times' Scores

  • Movies
  • TV
For 6,554 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 7.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 71
Highest review score: 100 Harry Potter and the Chamber of Secrets
Lowest review score: 0 White House Down
Score distribution:
6554 movie reviews
  1. While Mirren and McKellen are as wonderful as you’d expect, especially in the early going when their respective characters are just getting to know one another, even these two legendary talents can’t overcome a convoluted, unfocused and increasingly implausible storyline.
  2. You can see the big twist coming an hour in advance. And the big epic showdown is resolved in a manner that defies even the most cursory of examinations. There’s something almost depressing about how often this movie takes the easy, lazy way out.
  3. Ford v. Ferrari expertly captures the essence of mid-20th century racing, and the spirit of the men who went to battle in Le Mans.
  4. This is a star-studded extravaganza light on character development and heavy on battle spectacle, resulting in an impressive-looking but dramatically underwhelming story.
  5. Even on my most Ebenezer of days, I wouldn’t have been able to resist this sentimental journey.
  6. Some of the callbacks to “The Shining” are chillingly effective; others felt gratuitous and missed the mark. Still. A tip of the REDRUM to Doctor Sleep and to Ewan McGregor’s memorable performance for giving us the opportunity to catch up with Danny Torrance in a most satisfying manner.
  7. The scenes between Gleeson and Huppert are rendered in muted tones and are sweet and effective. Subplots involving Sylvia and Paul are flat and uninteresting.
  8. This is the best movie of the year so far and one of the best films of the decade.
  9. Alice Waddington makes her feature directing debut with this futuristic sci-fi psychological thriller, and she is a clearly talented visual stylist.
  10. Motherless Brooklyn isn’t in the same league as obvious influences such as “The Maltese Falcon” and “Chinatown,” but it’s an effective mood piece and a worthy entry in the genre.
  11. There are more than enough ingredients here to cook up one rousing and thought-provoking sci-fi thriller. Except this time around, they’re just serving up overcooked leftovers.
  12. Harriet certainly doesn’t shy away from reminding us of the horrors of slavery, but it’s mostly about the quest for freedom, and a remarkable woman who found her own freedom wasn’t nearly enough.
  13. This truly IS must-see cinema — one of the most visually striking films you’ll ever see, featuring magnificent performances from the two leads.
  14. It’s hard to make a case for being a timely, provocative thriller when so many characters are regressive caricatures.
  15. While there are some sparks of creativity in the script by Michael Mitnick and some strong performances (most notably from Shannon and Waterston), it fizzles out under the weight of a pompous and meandering storyline that includes cryptic flashbacks to a wartime encounter, and a strange subplot about the advent of the electric chair.
  16. In the uncomfortably funny, unapologetically insensitive, cheerfully outrageous Jojo Rabbit, writer-director Waititi (“Thor: Ragnorak”) delivers a timely, anti-hate fractured fairy tale AND turns in hilarious work as Adolf Hitler, imaginary friend to a 10-year-old German boy near the end of World War II.
  17. They’re all terrific, but Emma Stone in particular kills with a sharply honed, funny and endearing performance as the battle-tested and cynical Wichita, who is fearless when it comes to taking on zombies, but terrified when it comes to fully committing to a human connection.
  18. Mistress of Evil is an entertaining thrill ride with a sly sense of humor and some admirable albeit obvious political and social commentary, with messages along the lines of, “It doesn’t matter where you come from, it matters who you love.”
  19. While it strikes a different visual tone and moves at a faster pace than many of the TV show episodes (as one might expect from a feature-length story), thanks to Gilligan’s masterful writing and directing, and the bold and powerful and layered performance from Aaron Paul, it’s an extended epilogue quite worthy of the “Breaking Bad” brand.
  20. Almodovar’s stylized and meta slice of self-representation is as visually stunning as it is emotionally effective.
  21. As quickly as Thing can snap its fingers, we’ll soon forget our visit with this version of The Addams Family.
  22. Lucy in the Sky is an irritatingly self-conscious, maddeningly rudderless and scatterbrained story that bounces all over the place and never finds an identity.
  23. The main story keeps stalling out in favor of these drive-by interludes that take center stage for a few minutes and then fade into the background, usually never to be heard from again.
  24. Paul and young Danny Murphy are terrific together, with Paul playing a wounded bear growling his lines and Murphy delivering a fully realized performance. And for such a bleak and harsh tale, The Parts You Lose finds some rays of light at the end of the night.
  25. In the flat-out hilarious 1970s period piece “Dolemite Is My Name,” Murphy is the funniest he’s been since we last saw Sherman Klump and family in the early 2000s — but he’s equally effective in the handful of relatively low-key, dramatic moments. It’s a fully realized performance.
  26. For all its next-generation technology, and even with the great Ang Lee (“Crouching Tiger, Hidden Dragon,” “Brokeback Mountain”) directing, Gemini Man is a mind-numbingly unoriginal international spy thriller.
  27. The characters aren’t consistent, and Cliff eventually becomes so unbelievable that we just stop caring. The movie’s ending is an exercise in plot; its beginning and its music deserve better than that.
  28. At times the film overdoes it with the clown metaphors (including the use of songs such as “Everybody Plays the Fool” and “Send in the Clowns”), and I had major misgivings about one particular subplot, but with Phoenix appearing in virtually every minute of this movie and dominating the screen with his memorably creepy turn, Joker will cling to you like the aftermath of an unfortunately realistic nightmare.
  29. This is not a movie. This is mutilation porn. This is a gratuitously violent, shamelessly exploitative, gruesomely sadistic and utterly repellent piece of trash with no redeeming qualities other than its mercifully short running time of less than 90 minutes.
  30. With all we know about this chillingly amoral, blackhearted man, Where’s My Roy Cohn? still serves as a thorough and insightful history lesson that makes a convincing case that among other sins, Cohn was one of the early architects of bitterly divisive, take-no-prisoners, make-no-excuses, dirty-tricks politics.

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