Chicago Tribune's Scores

Select another publication »
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
view
per page
  1. The Silence of the Lambs
    Billed as one of the most frightening, depraved films ever made. Would that it were so. Instead, this is a case of much ado about nothing. [15 February 1991, Friday, p.C]
    • Chicago Tribune
  2. Graffiti Bridge
    The movie suffers from various technical difficulties - like choppy editing and songs that get cut off mid-groove - and in the end everything collapses in a heap. [05 Nov 1990, p.4C]
    • Chicago Tribune
  3. Man of the House
    A sweetly benign comedy that allows the actor (Jones) to lampoon his tough guy image honed in "The Fugitive" and "U.S. Marshals."
  4. Subway
    The film looks terrific and offers one spectacular chase, but its story and characters are less substantial than even a weak episode of "Miami Vice."
  5. The Fall
    It has a rich premise and no lack of amazements. What it lacks in any sort of dramatic shape.
  6. Dark Shadows
    Dark Shadows illustrates the fine line in a pop reboot between "relaxed" and "lazy."
  7. Circus
    When the final twist has been turned and the last corpse has hit the ground, it is a film that could have been twice as good if it had been half as complicated.
    • Chicago Tribune
    • 37 Metascore
    • 50 Critic Score
    When Do We Eat?
    By the time the ending rolls around, as we watch the slow unclamping of jaws from jugulars, we feel exhausted. Imagine how the actors must have felt.
  9. Shag
    Shag still has its pleasures, though they're mostly among the casting. Annabeth Gish, as the shy Pudge, remains one of the most refreshingly natural performers in American films; a master of understatement, she scales down her gestures and reactions in a way that draws the camera to her, never asking for attention but quietly commanding it. [21 July 1989, p.A]
    • Chicago Tribune
  10. Raising Helen
    You can take the director out of television, but sometimes you can't take television out of the director. Although Garry Marshall has been making movies for longer than he spent creating such series as "The Odd Couple," "Happy Days" and "Laverne and Shirley," his work retains the scent of the small screen.
  11. Just Friends
    But alas, even with young talent, director Roger Kumble and writer Adam Davis rely way too heavily (no pun intended) on the fat-suit joke and titular impasse.
  12. Tusk
    The chief argument regarding his (Smith) "Human Centipede" riff is pretty basic: good trash or stupid trash? I'd say roughly half and half.
  13. The In-Laws
    Like too many movies these days, takes a clever little idea and all but pounds it into the ground.
  14. The Godfather: Part III
    An air of embarrassing familiarity hangs over the entire project, as if it were a story told by an aging relative not quite aware of how many times, and how much better, he has been over the same material before. [25 Dec 1990, Tempo, p.1]
    • Chicago Tribune
  15. A Dog's Way Home
    Even the cute factor of A Dog's Way Home can't obscure its narrative weaknesses.
  16. The Holy Land
    Gorlin's fiction, based loosely on his own life, must be better than that of "Frontline." And it's not.
  17. 2 Fast 2 Furious
    Looks sleek and moves efficiently, but there's nothing too distinctive under the hood.
  18. G-Force
    Toward the end, G-Force starts making no sense at all, neither tonally or narratively. It may not matter to the target audience, though the look on my son's face when it was over was pure Buster Keaton. He says he liked it well enough. Me, a little less.
  19. The Last Song
    The Last Song is primarily for teenagers looking for something disposable to cry about for a couple of hours, though I did find it a tad easier to take than "Dear John."
  20. Steamboy
    Though Katsuhiro Otomo's animated Victorian-era adventure Steamboy stars British characters, it's a Japanese film through and through.
  21. The Disappearance of Eleanor Rigby: Them
    For me Chastain's unerring honesty is the only element keeping The Disappearance of Eleanor Rigby above the realm of pure affectation.
  22. Honeymoon in Vegas
    Elvis impersonators may not be the freshest subject for comedy, but Bergman's sense of structure is sharp enough to develop a basic running gag (a convention is in town, with Elvises of every shape, size and color) into a spectacular final payoff. The parts are there but the whole, sadly, is not. [28 Aug 1992, p.B2]
    • Chicago Tribune
  23. The Pink Panther 2
    Nothing is harder and more elusive than successful slapstick onscreen. Nothing.
  24. Schultze Gets the Blues
    The scenery is pretty and the locals endearing, but Schorr never gets past charming.
  25. Can't Buy Me Love
    Though it looks bright and the young actors have a couple of sweet moments, the picture is almost unremittingly punishing, hammering home its "be yourself" message with all the gentle persuasiveness of a Marine drill sergeant.
  26. Sahara
    Action films can't be this consistently absurd, can't paint their heroes into such dangerous corners, from which only cocktails of luck and divine intervention can save them, over and over. It's a bad-faith bargain with the audience and bad storytelling.
  27. Fried Green Tomatoes
    It's meant to be uplifting, but the material is so undernourished that bench-pressing a phone book already seems beyond it. None of the characters has been filled out beyond the underlying conventions and the few distinctive mannerisms contributed by the actresses who portray them.
  28. People Like Us
    A fine and moving film could be made from this story, which was inspired, loosely, by events and situations in the lives of Kurtzman and Orci. But the script sets an awfully low bar for Sam's redemption.
  29. Perfect Stranger
    It lacks the rutting nuttiness of "Basic Instinct," even as it recycles much of that film's kiss-or-kill premise.
  30. Love and Other Drugs
    They put the "obvious" in "obvious."
Page:

Top Trailers

See all »
See all trailers »