Chicago Tribune's Scores

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For 7,609 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 1.5 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:
  1. Positive: 5,113 out of 7609
  2. Mixed: 1,474 out of 7609
  3. Negative: 1,022 out of 7609
7609 movie reviews
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    • 43 Metascore
    • 50 Critic Score
    Hot Rod
    Sure, it's funny, mainly because it's utterly absurd and meandering.
  2. Freaky Friday
    Freaky Friday commits a lot of sins; luckily, it has Curtis and a few others to cover them up.
  3. Man on a Ledge
    The supporting players in Man on a Ledge bring more to the party than the leads, and my suspension of disbelief seems to have gotten hung up in traffic while attempting to cross the suspension-of-disbelief bridge from the Brooklyn side.
  4. Louder Than Bombs
    Louder Than Bombs never quite comes together. You keep waiting for it to gel, but it just drifts along until it drifts away.
  5. Beaches
    Beaches is a melodrama in the original sense of the term: a drama with music. And as long as the melo is handled by Bette Midler, who performs half a dozen songs, Beaches can`t be all bad. But the drama, as transacted between Midler and Barbara Hershey, is pretty dreadful.
  6. Teenage Mutant Ninja Turtles
    The only thing this film has going for it is its improbable title and title song about four fighting turtles changed into upright, man-size creatures by exposure to radioactive wastes.
  7. Where'd You Go, Bernadette
    It’s a morose sort of screwball comedy with heart, and right there that’s three elements going in related but separate directions.
    • 50 Metascore
    • 50 Critic Score
    Everybody Says I'm Fine!
    Rahul Bose's pleasant little flick, could have been much more than just fine had the director taken more risks. Instead, this movie pulsates with lost opportunity and unanswered questions.
  9. Faster
    Dwayne Johnson leaves his lovable self behind in the violent but bland Faster.
  10. The Experiment
    For all its slickness, is an R-rated version of "Survivor," "Big Brother" or any number of reality-TV shows that present voyeurism as entertainment and exploitation as insight.
    • 61 Metascore
    • 50 Critic Score
    Dust to Glory
    Filmmaker Dana Brown's major error is that he doesn't just shut up and get out of the way.
  12. Bewitched
    An uninspired misfire of a TV-series knockoff that, despite its great cast and smart filmmakers, never manages to scare up much magic.
  13. Behind Enemy Lines
    A pumped-up, flag-waving, outrageously hokey and ridiculous -- but sometimes incredibly exciting -- war movie.
  14. The Debt
    Director Madden vacillates between treating the issues and historical context of The Debt seriously, and as the story demands, as pure, heavy-handed pulp. The cast does what it can in the service of this assignment. But some jobs simply resist satisfying completion.
  15. Isn't It Romantic
    There’s not much kick to Isn’t It Romantic, even after it goes over the rainbow. It gets by, and commercially it may well be a modest hit — but has more to do with Valentine’s Day timing than the film itself.
  16. The Shaggy Dog
    In movies as in life, superior technology doesn't necessarily trump humor, magic or really shaggy dogs.
  17. The Bridge
    Despite the proficient technique, after a while you may feel you're watching a particularly scenic snuff film.
  18. Ghostbusters II
    The film gets by on the sheer good-naturedness Reitman is able to place in all of his efforts, though it doesn't seem likely to inspire the same level of affection as the original. Innocence is one quality that can never quite be recaptured. [16 Jun 1989, p.28]
    • Chicago Tribune
  19. Twins
    There is a genuine sweetness in Reitman's work that balances the innate cruelty of much '80s film comedy. But this time the gags are too feeble to provide a counterweight and the film tips into the cute, benign and pointless. [9 Dec 1988, p.A]
    • Chicago Tribune
    • 45 Metascore
    • 50 Critic Score
    Sydney White
    Director Joe Nussbaum (“Sleepover”) doesn’t do much with his cast; there’s a lot of standing around as he indulges Bynes’ tendency to mug.
  21. Hiding Out
    It's a thoroughly professional job, but even in making a feature film, Giraldi still seems to be working to please a client. He shoots the script, supplying just enough style to make it stand up but not enough to make it move.
  22. White Sands
    The movie is full of dead ends, logical gaps and bizarre inconsistencies. Yet Donaldson is deft enough, both in his composition of shots and his direction of actors, to create a scene-by-scene sense of competence and control that carries the picture across some very rough spots.
  23. Girls Rock!
    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.
  24. The Exorcist: Believer
    The Exorcist: Believer has its moments, but we’ve had a half-century of this stuff. And the filmmaker in charge has to show us something new; there’s more to life, and moviegoing, than coasting on cherished memories of projectile vomiting and head-swiveling.
  25. The Curse of La Llorona
    The Curse of La Llorona is middling B-movie schlock that goes for the low-hanging fruit: sequences you know will end with some kind of jump, bump or scream, and jokes that cut the tension and indicate everyone here knows what's up.
  26. The Tempest
    She tackled "The Tempest" on stage, years ago. On screen I wish she'd (Taymor) adapted it with a freer hand, and then directed it with a more considered one.
  27. Musical Chairs
    Settles for being simple, familiar and ineffective, though I suspect it'll warm a few hearts.
  28. Downton Abbey
    It’s not a movie, really. It’s a commemorative “Downton Abbey” throw pillow.
  29. Chain Camera
    Absorbing in places, but considering the large and diverse pool the filmmakers had to draw from, it's a surprisingly repetitive and predictable collection of big-city sagas.
  30. Suspect
    Suspect smothers in misapplied seriousness-it's the thriller as civics lesson. [23 Oct 1987, p.A]
    • Chicago Tribune
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