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. Here Today
    It’s hard to pick apart a film that is as well-intentioned as Here Today, which earnestly wants to celebrate life, and every beautiful, tragic, poignant and surprising moment. But for a film that seeks to be so humanist, there’s only one truly human character in it. As likable as he is, that oversight is impossible to ignore.
  2. Jack the Giant Slayer
    The film is ruled by sound and fury signifying an attempt to launch a new franchise.
  3. Ali
    We've seen Ali as the charismatic star of the real-time drama of his life. "Ali," for all its flashy filmmaking, just doesn't compare.
  4. Peace, Love, & Misunderstanding
    Keener alone finds the truth between the lines of this routine affair. She can't do much about the lines she has to say out loud, but as all first-rate screen performers realize, words are only part of the story.
  5. The Art of Getting By
    The glibness of Wiesen's freshman effort wouldn't be a problem if the wit was there.
  6. True Colors
    The setup is so startlingly unlike the rest of True Colors, so moody and visually ambiguous, that it hits you both with the force of the moment and with regret for what this movie might have been. [05 Apr 1991, p.D]
    • Chicago Tribune
  7. Mickey Blue Eyes
    A limply derivative, disappointingly trivial and hokey fish-out-of-water crime comedy.
  8. Buffy the Vampire Slayer
    Kuzui has imposed a heavily block-lettered feminist message on the movie, suggesting that Buffy discovers her empowerment as a woman by driving huge, phallic stakes through the hearts of her enemies. In this case, having it all means being feminine and bloodthirsty, too. [31 Jul 1992, p.B]
    • Chicago Tribune
  9. Super Troopers
    Manages to leave the impression that it was funny even though most of its jokes don't score.
  10. Firewalker
    When Gosnell's script does wander into some emotionally complex territory--in the depths of the jungle, Max encounters an old army buddy from Vietnam (John Rhys-Davies)--Thompson does rouse himself momentarily to provide some sequences of unexpected sensitivity, but he quickly returns to his dull, professional indifference. [21 Nov 1986, p.L]
    • Chicago Tribune
  11. Hereafter
    Morgan and Eastwood are scrupulous in keeping their notions of the afterlife as general and inoffensive as possible. They have no religious or spiritual worldview to sell. As I say: Many admire this film to no end. I found its use of recent tragic events, including the London underground bombing, to be more than a little cheap.
  12. Astro Boy
    I wish the film version of Astro Boy provided a stronger antidote to mediocrity.
  13. Saved!
    After bravely lampooning an institution so many consider beyond reproach, Saved! chickens out, imparting its most direct and lasting message in its disappointing conclusion: Don't Offend. Amen.
  14. Cecil B. DeMented
    Weighed down by the presence of Griffith. She plays her satiric part without much gusto or conviction - as if she were afraid we might believe she really is Honey.
    • Chicago Tribune
  15. Pop & Me
    The ultimate shallowness of this film is reflected in the fact that their key bonding moment occurs when they bungee-jump off a bridge together.
  16. American Dreamz
    Grant, playing a variation on Simon Cowell, resident meanie on "American Idol" and its inspiration, Britain's "Pop Idol," does what's required with seedy panache. Yet the characterization, both as written and acted, lacks a spark.
  17. Battlefield Earth: A Saga of the Year 3000
    Scientology or not, the movie is a battlefield bummer that makes you want to revolt.
    • Chicago Tribune
  18. Jimmy Carter Man from Plains
    Carter comes off as compassionate and intelligent. But the complex issues brought up in his book don’t get much more than a superficial debate.
  19. Machete
    It's outlandishly gory and bluntly political, the latter being more interesting than the former. It wears out its welcome, though, long before la revolucion and sequels are promised.
  20. Sanctum
    Here and there an image of spectral beauty, assisted by the 3-D technology, floats into view and captures our imagination. But the script, which really should've been called "Sanctimonium," has a serious case of the bends.
  21. The Baxter
    Michael Showalter is a funny man, but … how to put this gently … not a funny movie star.
  22. In Too Deep
    An oft-told tale.
    • Chicago Tribune
  23. Fast X
    My affection for a lot of the earlier F&F movies has everything to do with the people on the screen, and the squealing of the tires. Not so much the world destruction. Outlandish mayhem needs better visual stylists than Leterrier.
  24. Some Kind of Wonderful
    It's Mary Stuart Masterson, bringing a depth and tenacity to her role that nowhere appears in the screenplay, who leaves the lasting impression. She escapes the airiness of Hughes's vision to establish something like a human being. [22 Feb 1987]
    • Chicago Tribune
  25. The Jungle Book 2
    At its core, a movie for children. There is no hidden adult story line, not much sexual innuendo and very little dry humor.
  26. Meeting Resistance
    While no doubt a contribution in terms of historical record, the 2003-2004 timeline of the movie makes it feel out of date. This offers perspective on the insurgents then, but leaves the viewer wondering what they would be thinking and saying four years later.
  27. She's Having a Baby
    She`s Having a Baby wants to be everyone`s story, but its hollowness makes it no one`s.
  28. Green Lantern
    Green just isn't the superhero color this year.
  29. Oscar
    For a film meant to define a lighter and fresher image for Stallone, Oscar doesn't quite get the job done. [26 Apr 1991, p.B]
    • Chicago Tribune
  30. Cry Freedom
    As a movie, Cry Freedom is little more than an uninspired remake of Attenborough's earlier success. Once again, against a background of exquisitely lit, lushly produced human suffering, a charismatic political figure is changed into a divine hero.
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