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 Idiots
    It's interesting - in its own let-it-all-hang-out, shaky-camera way.
    • Chicago Tribune
  2. 21
    21 isn’t pretentious, exactly, but it’s damn close, and in trying to whip up a melodramatic morality tale the film becomes an increasingly flabby slog.
  3. I'm Gonna Git You Sucka
    A satire is only as good as its subject, and in the very funny I'm Gonna Git You Sucka, Keenen Ivory Wayans has found a rich and relatively untapped one. The wit and openness of I'm Gonna Git You Sucka has more to contribute to race relations than the smug piety of "Mississippi Burning." As a positive image, a good, shared laugh is hard to beat. [14 Dec 1988, p.1]
    • Chicago Tribune
  4. Civic Duty
    A clammy little number that might've been funded by the Department of Homeland Security.
  5. Vertical Limit
    If you were forced to judge it simply on its action-movie visual and technical elements, you'd have to count it a roaring success... . But if you lay aside that action and watch the people instead, it's a morass of dimwitted family crises and hack action-movie cliches.
  6. The Santa Clause 2
    No question, the new movie is amiable family entertainment, and Allen is such an affable actor that maybe kids won't begrudge him seeking romantic fulfillment in order to remain their favorite Santa.
  7. The Core
    Elaborate misfire, which misuses an unusually good cast.
  8. Super Troopers
    Manages to leave the impression that it was funny even though most of its jokes don't score.
  9. Orange County
    Black delivers the best line (“Do you want me to get naked and start the revolution?”), and Lithgow scores a giggle for calling his ex-wife “coyote ugly” to her face, but neither of them can disguise this lemon.
  10. 300: Rise of an Empire
    This is digital fake-ism all the way. Audiences bought it the first time; they're likely to buy it a second time.
  11. Lockout
    The aftereffects of watching Lockout include an inability to focus or to complete a simple declarative sentence without an ill-timed cutaway in the middle.
  12. Memoirs of an Invisible Man
    Despite the superficial Hitchcock trappings, from the Bay Area locales to trains and high places, the comedy thriller is neither particularly comic nor particularly thrilling, and after this outing, director Carpenter (Halloween, Starman) may wish to stay out of sight as well. [28 Feb 1992, p.B]
    • Chicago Tribune
  13. Sleeping with the Enemy
    Director Joseph Ruben would have done much better to limit the physical horror and make it more of a psychological terror game.
  14. Bullet to the Head
    It's junk, and it's excessively violent, which is a given. Approach it as a Stallone movie (which it is) or as a Hill movie (which it is), but it's more interesting as a Hill movie. If it gets this director back into the hard-driving action game, then it will have done its duty.
  15. Just Cause
    Just Cause might better have been called "Without a Cause." Or "Without a Clue." [17 Feb 1995, p.C2]
    • Chicago Tribune
    • 48 Metascore
    • 75 Critic Score
    Operation Dumbo Drop
    The movie makes a worthwhile attempt to break down some thick emotional walls and, at the same time, tell a good story. That it is mostly successful in providing more than a few solid laughs and smiles--in what, after all, is a war picture--says a great deal. [28 Jul 1995, p.H]
    • Chicago Tribune
  17. I'm Still Here
    Rarely has the question of a documentary's artifice mattered less. I genuinely hated this picture, almost as much as I've admired Phoenix's work in everything from "Gladiator" to "Walk the Line" and even the hackneyed but affecting "Two Lovers."
  18. The Girl on the Train
    For one thing, and it's a big thing, it's filmed all wrong. Director Taylor and cinematographer Charlotte Bruus Christensen favor handheld, Rachel's-eye-view close-ups, by the woozy hundreds. The toggling editing rhythms get to be a bit of a chore.
  19. High Crimes
    It's still a disappointment: a well-mounted and well-acted suspense movie that, thanks to its illogical script, falls off a cliff midway through.
  20. Shallow Hal
    So intent on driving home its worthy if not mind-blowing message that it becomes surprisingly conventional.
    • Chicago Tribune
  21. Angels & Demons
    Astonishingly, Angels & Demons IS the same sort of lumbering mediocrity.
    • 48 Metascore
    • 25 Critic Score
    The Longest Yard
    Where the original was a serious film with funny moments, this movie isn't sure if it's a drama or comedy, too incompetently rendered to be both. What it accomplishes instead is to be nothing at all. An excessive, stupid, empty-headed nothing.
  23. One Day
    What proved tasty in book form comes across a little more like work in the movie.
  24. Tolkien
    Too often Tolkien lumbers up to its big moments, such as the preposterous climax involving the title character scrambling around the western front, calling out his schoolmate’s name. Fact or fiction isn’t the issue. Either way it plays like hokum.
    • 48 Metascore
    • 75 Critic Score
    American Gun
    The structural sibling to Paul Haggis' race relations opus ("Crash"), but beyond the similarly interwoven vignettes, it's a different animal altogether: messier, more complicated and ultimately more interesting.
  26. Mr. Magorium's Wonder Emporium
    Twenty or 30 minutes into Mr. Magorium’s Wonder Emporium the urge to flee may rise within you like an oceanic tide. But stick with it. The film is very sweet--in fact it represents the dawn of a new sport, Extreme Whimsy.
    • 48 Metascore
    • 50 Critic Score
    Step Up
    It's no accident that the credits for the movie are a Who's Who of dance movie alumni: Director Anne Fletcher choreographed "Bring It On"; screenwriter Duane Adler penned "Save The Last Dance"; and the movie was photographed by Michael Seresin, who shot "Fame."
  28. Penelope
    I wish it were truly special instead of an interesting near-miss.
  29. Admission
    There's a good movie in this story. The one that got made is roughly half-good.
  30. 3 Needles
    Writer-director Thom Fitzgerald's ambitious but hopelessly inchoate AIDS drama is actually three separate, sequentially-told stories.
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