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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  1. Appleseed
    Whatever is lost in translation can't keep Appleseed from feeling a decade late--and its animation from looking like a relic on arrival.
  2. Nowhere to Run
    The inconsistencies of Nowhere to Run make it finally unsatisfying, but the film leaves little doubt that Robert Harmon is a major talent, though one still waiting for a project equal to his abilities.
  3. Burn After Reading
    Clooney remains as game as ever, but the way he and McDormand push the energy here, you feel the strain. Pitt, just floating through, comes off best. He doesn't judge the moron he's playing; he just is.
  4. Girl Most Likely
    Girl Most Likely goes a little bit wrong in nearly every scene, its stridently quirky characters never quite making sense together in the same universe, let alone the same movie.
  5. Flushed Away
    After the fourth electrocution gag, the 10th smack in the face and the 12th assault on a wee rodent crotch, we could all use something quiet.
  6. Alex Cross
    The sharpest five minutes in Alex Cross, by a considerable margin, belong to Giancarlo Esposito.
  7. Ocean's 8
    It’s smooth, and far from inept. But it isn’t much fun. That’s all you want from a certain kind of heist picture, isn’t it? Fun?
  8. Madagascar
    The film never gets going. It's too slow and plodding for kids--even too obvious.
  9. Presumed Innocent
    Though it`s a handsome film, carefully staged and courageously low-key, the transition to the screen only exaggerates the disposable nature of the material while depriving it of the novel`s one stylistic strength, its unreliable narrator.
  10. Never Been Kissed
    Never Been Kissed features a fierce tug of war between the charm of Drew Barrymore and the stupidity of the script.
  11. Murder on the Orient Express
    Midway through a middling film adaptation, like this one, you realize it’s the same old clue-delivery mechanism, in a darker mood but also a less lively one.
  12. Parkland
    Those looking for some human interest in their human interest may be equally frustrated.
  13. The Country Bears
    Unfortunately, the humans only have scripts to support them. So for every bear triumph, Country Bears also features cliched jokes, corny sentiment, ludicrous shtick and the most flabbergasting set of star cameos since Martha Stewart and Michael Jackson wandered into "Men in Black II."
  14. Canal Street
    It’s a choppy, frustrating affair, periodically bailed out by some very good actors.
  15. Baby Boom
    Shyer's direction of actors rises instantly to a level of cartoonish hysteria and descends only for occasional wet bursts of sentimentality. But as an exercise in ideological persuasion it works appallingly well, playing on deep-seated guilts and insecurities with a sureness of touch that may make it a hit with the audience it caricatures.
  16. Talladega Nights: The Ballad of Ricky Bobby
    Lacks the guts of genuine satire.
  17. Look Who's Talking
    Though the film has a plot a simpleton could follow, its hallmark is confusion. Its sense of time and place and its point of view are muddled. [13 Oct 1989, p.L]
    • Chicago Tribune
  18. Gray's Anatomy
    The movie Gray's Anatomy demonstrates that fully stimulating the senses isn't the same as fully engaging them. Gray still begins talking in his trademark plaid shirt with a notebook and glass of water at his table, but soon Soderbergh is sending him on a Disney ride of scenery changes, lighting effects and moody music. [1 August 1997]
    • Chicago Tribune
  19. The Blind Side
    Veers perilously close to the concept of poverty tourism.
  20. Pet Sematary
    There is a crazed, dark poetry here, but Mary Lambert's direction of Pet Sematary captures none of it, and the film falls into a flat, frequently laughable literalism. [24 Apr 1989, p.C2]
    • Chicago Tribune
  21. The Conspirator
    Heartbreakingly average, director Robert Redford's The Conspirator errs in the way so many films do, especially films about unsung pieces of American history. It focuses on the wrong character.
    • 59 Metascore
    • 50 Critic Score
    Waking the Dead
    By the time of Fielding's and Sarah's final, gooey encounter, she's not the only one who needs waking.
  23. Bounce
    Doesn't really work when examined in the daylight outside the theater doors.
    • Chicago Tribune
    • 28 Metascore
    • 50 Critic Score
    Passion of Mind
    It's pretty muddle-headed and confusing.
  25. Malice
    Slick but forgettable. [01 Oct 1993, p.C]
    • Chicago Tribune
  26. No Man's Land
    Sweeney, however, gives a better account of himself than Sheen in his role. [23 Oct 1987, p.A]
    • Chicago Tribune
  27. Fire Down Below
    There aren't many surprises in Fire Down Below, except for the presence of a few very good actors (Harry Dean Stanton, Kris Kristofferson, Levon Helm) and a slew of country stars in cameo appearances (including Loretta Lynn's twin daughters and singer Randy Travis, who looks to have a future as a movie heavy). [8 Sept 1997, p.C2]
    • Chicago Tribune
  28. Bullet Train
    The spirit’s almost there to pull it off. But the movie does grind on.
  29. The Haunting in Connecticut
    The movie bumps along from low-grade scare to scare, and it's not lousy, mainly because Virginia Madsen prevents it from being so.
  30. Whipped
    A decent idea that never goes deep enough for genuine satisfaction.
    • Chicago Tribune
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