Chicago Tribune's Scores

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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:
  1. Positive: 5,107 out of 7603
  2. Mixed: 1,474 out of 7603
  3. Negative: 1,022 out of 7603
7603 movie reviews
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  1. The Net
    Irwin Winkler's The Net, which should have worked a lot better than it does, is a glossy, intricately plotted, mostly implausible suspense movie about a woman on the run.
  2. The Baxter
    Michael Showalter is a funny man, but … how to put this gently … not a funny movie star.
  3. Mighty Joe Young
    Mighty Joe Young is a mighty big movie about a mighty big gorilla. And a lot of it is mighty bad -- unless you're a devotee of high tech and low camp, elephantine effects and mouse-sized stories, politically correct nostalgia and/or Charlize Theron and Bill Paxton in jungle outfits.
  4. Jack the Giant Slayer
    The film is ruled by sound and fury signifying an attempt to launch a new franchise.
  5. Death at a Funeral
    Gets by for many of the same reasons "Date Night" got by, all of them performance-related.
  6. Valerian and the City of a Thousand Planets
    Besson's commercial instincts for sleek, violent fantasy are often sound, but "Valerian" is more sedative than show.
  7. Wild Bill
    What Kasdan's "Earp" needed was more humor and better villains. "Wild Bill" has the humor and villains, the flash and energy, the fire and style. And when, at the end, Hill seems to throw it all away, it almost hurts. But you can say one thing about "Wild Bill": Unlike most movies, it has a lot to throw away. [01 Dec 1995, p.C]
    • Chicago Tribune
  8. Asylum
    Natasha Richardson glides through the film version of Patrick McGrath's novel Asylum in various states of fear, desire and undress, a swan among Yorkshire frumps.
  9. Birthday Girl
    A paper-thin wish-fulfillment comedy about escaping small-town repressions and blasting conformity.
  10. Le divorce
    Somehow lacks lightness and weight. This is a movie that tries to work a bloody suicide attempt and a murder into a comedy of manners, with almost everything registering in the same narrow spectrum of inconsequence.
    • 51 Metascore
    • 50 Critic Score
    Km. 0 - Kilometer Zero
    If only they had allowed their characters to develop naturally after those first mismatched meetings, Km. 0 might have ventured into more intriguing territory.
  12. My Best Friend's Wedding
    More thoughtful than advertised. And as a confection, it's less sweet and more flavorful than your average wedding cake. [20 June 1997]
    • Chicago Tribune
  13. Extreme Prejudice
    The film leaves a sense of entrapment and despair. Its characters are caught in a shrinking world that leaves no room for notions as grand as "good" and "evil," but only a sordid, creeping malignancy that levels everything in its path. [24 Apr 1987, p.AC]
    • Chicago Tribune
  14. Mamma Mia!
    It's funny what you buy completely onstage and resist completely, or nearly, on-screen. Case in point: Mamma Mia!
  15. Think Like a Man
    Think Like a Man is what it is. But its hangout factor is considerable, because the actors' charms are considerable.
  16. Teenage Mutant Ninja Turtles
    Barron concentrates on keeping the action moving at a brisk clip, drawing on his music video experience to serve up an entertaining series of odd camera angles, gratuitous camera movements and complicated lighting schemes. The results are lively and funny enough to keep adults enthralled as well as kids.
  17. Snitch
    It's an entertaining picture — pulp, coming from a place of righteous indignation.
  18. She's All That
    Rachael Leigh Cook, as Laney, the plain Jane object of the makeover, is forced to demonstrate the biggest emotional range as a character, and she is equal to the assignment. I look forward to seeing her in her next picture. [29 Jan 1999, p.A]
    • Chicago Tribune
  19. Skyscraper
    Skyscraper — a sort of reverse "Die Hard," where a family man breaks into an imposing structure to save his family — scoots by on the thinnest of premises, and an even thinner script.
  20. Aquamarine
    Like its title heroine, it's sparkly, pretty and flirty--but often all wet.
  21. My Date with Drew
    Viewed through the right lens, "My Date…" succeeds as a warm, heartfelt story about childhood crushes and the pursuit of lifelong dreams. (Through another, it's downright unnerving.)
  22. Everyone's Hero
    Probably the last movie to carry a credit for the late Christopher Reeve--as well as the last credit for Reeve's late wife, Dana.
  23. The Gods Must Be Crazy II
    Whereas the original film had a grain of originality and social commentary in its story of what happens because of the surprise appearance of a Coca-Cola bottle, the new picture offers only tired jokes. [13 Apr 1990, p.C]
    • Chicago Tribune
  24. Irreversible
    What's wrong is the decision to let all the actors improvise their lines...At the end, Irreversible looks less like captured or even distorted life than an acting class.
    • 51 Metascore
    • 63 Critic Score
    Transporter 3
    The best sequences involve Frank's inventive ability to stay within 75 feet of his car, but otherwise, it's the charismatic unruffled dexterity in the face of impossible odds that rivets.
  26. Jaws 2
    For a film about deep water terror, Jaws 2 is really quite shallow. [16 June 1978, p.3-2]
    • Chicago Tribune
  27. Austin Powers: International Man of Mystery
    The key to the film, however, is the joyous performance of Mike Myers, who plays both the Beatle-mopped Austin Powers and the bald-headed Dr. Evil.
    • Chicago Tribune
  28. The Road to El Dorado
    It has a jokey irreverence that keeps it from teetering over the edge to absurdity.
  29. Left Luggage
    The only glaring fault of this otherwise fine film is that director Jeroen Krabbe's sense of drama is far too heavy-handed in spots.
  30. What Lies Beneath
    A classy supernatural lady-in-distress thriller.
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