Chicago Tribune's Scores

For 7,603 reviews, this publication has graded:
  • 62% higher than the average critic
  • 2% same as the average critic
  • 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: 100 Autumn Tale
Lowest review score: 0 Car 54, Where Are You?
Score distribution:
7603 movie reviews
  1. The film, a handsome nerve-jangler co-produced under the storied Hammer horror banner, amps up the scares without turning them into something completely stupid. Success!
    • 62 Metascore
    • 88 Critic Score
    The movie has an avalanche of eye-popping visual effects, including a bustling Santa's village, nifty "Jimmy Neutron"-type gadgets and "Stars Wars"-like igloo walking robots - and, of course, the requisite heartwarming happy ending.
  2. Dances in circles until you tire of admiring it.
    • Chicago Tribune
  3. As beautiful as all the film's technology is, it needs more real human beings around - to pull the switches, man the pumps and scuttle through those corridors.
  4. After bravely lampooning an institution so many consider beyond reproach, Saved! chickens out, imparting its most direct and lasting message in its disappointing conclusion: Don't Offend. Amen.
  5. Sky High doesn't aim for the highbrow and doesn't employ lowbrow toilet humor. Instead, it hits the exact middle -- a bull's-eye worthy of a superhero.
  6. 5x2
    When you piece it all together, it becomes mildly fascinating.
  7. Credit for the triumph of this picture must go to West German director Uli Edel, who works on a canvas as large as Sergio Leone's Once Upon a Time in America. [11 May 1990, p.C]
    • Chicago Tribune
  8. As in last year's "Bridesmaids," an authentic, dimensional human element animates the jokes and the characters with whom we spend a couple of highly satisfying hours.
  9. In a rom-com, there's no rom without the com. Hart and Hall give it their all.
  10. The film is sober, serious-minded and paced like a funeral march.
  11. Director Jason Orley (”Big Time Adolescence”) handles it all well enough. It’s Day and Slate who make the very best of it.
  12. For me, the mechanics or even the (excellent) designs are not enough. Jeunet's archness keeps conventional empathy or engagement at bay, and by design maintains a tone of artificiality.
  13. If you are offended by jokes about sex, sex organs, sex, bodily functions, sex, the L.A. riots or sex, you should probably stay far away. But if you're up to the challenge, you should find Fear of a Black Hat to be a clever piece of work-a nasty satire with savvy and sass. [17 Jun 1994, p.J]
    • Chicago Tribune
  14. Fright Night is pleasantly, if effortlessly, well-acted and gently scripted. And when the ghoulish special effects and wry comedy aren't on screen, there's the occasional in-joke for viewer distraction. [06 Aug 1985, p.4C]
    • Chicago Tribune
  15. It’s the junky, janky mid-winter Liam Neeson thriller we used to get with that first flip of the calendar, only this one stars Gerard Butler, and is directed by Jean-Francois Richet, whose two-part gangster biopic “Mesrine” was pretty juicy. This one’s more pulp than juice, but it’s enjoyable.
  16. Director Suri Krishnamma, depends on Finney for its power. His great performance carries the film over its shallow spots, its wish fulfillment, its pull toward caricature. [03 Feb 1995]
    • Chicago Tribune
  17. Davis is reason No. 1 the film extracted from Kathryn Stockett's 2009 best-seller improves on its source material.
  18. It's a light, slight premise that seems more suited to a Saturday Night Live sketch than a full-length movie, but it plays pleasantly enough in its video incarnation, where modesty sometimes can be a virtue.
  19. Girls do rock, and the final concert is both wild and cathartic. Too bad we haven’t learned more about these rockers along the way.
  20. In the third story, set in Asheville, N.C., that excellent actress Hunt guides us steadily through what could be a minefield of sentimentality.
  21. It's simply a treat to watch Sandberg's style on display in Annabelle: Creation, filled with circling dolly shots that reveal and conceal evil in torturously teasing ways, effective narrative use of practical lighting for dramatic effect, and heart-pounding sound effects and a score of screaming strings.
  22. The film may be slight, but it is not stupid, and director Robert Cary keeps both stickiness and shtickiness at bay.
  23. It's not naughty. It's nice. Naughty is funnier.
    • 62 Metascore
    • 50 Critic Score
    The wedding site at the end of the road offers beautiful vistas overlooking Brazil, but it's hardly worth the trip.
  24. If the movie has a weakness, it's an over-reliance on Bond-style car chases and mass action scenes, which take away from the much richer and more original character comedy. But Mankiewicz's basic instincts seem admirable. He knows that a movie begins with people, and that`s a very good start.
  25. Bug
    Ashley Judd as Agnes White, and a relative newcomer, the remarkable Michael Shannon, as Peter Evans. They're both spellbinding.
  26. Kazan does have his father's fierce erotic curiosity, that sense that once you unravel a story's real lusts and greeds, you've solved it.
  27. Wong Kar-wai made a much more dynamic film, "Happy Together," five years ago. Lan Yu suffers by comparison.
  28. This is the debut feature for Columbia College graduate Gilio, and it shows great promise.

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