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. Swing Vote
    This one may be soft and derivative. But the actors establish a groove and stay on-message.
  2. Coming to America
    It's a sweet, oft-told story, and Murphy and Hall add a number of very sharp supporting roles-hidden by makeup-to add spice to the general level of gentleness. [1 Jul 1988, p.A]
    • Chicago Tribune
  3. 1492: Conquest of Paradise
    Given the current political climate, it's hard to see how any film about Christopher Columbus could make everybody happy, and indeed, Ridley Scott's 1492: Conquest of Paradise seems unlikely to leave too many ticket buyers smiling.
    • 47 Metascore
    • 63 Critic Score
    Where the Truth Lies
    Entertaining and even affecting, Where the Truth Lies is a failure primarily because it doesn't do justice to its originator, Rupert Holmes' dishy 2003 novel, which shared both of the aforementioned characteristics but also was extremely funny. The film, directed by Atom Egoyan, is not.
  5. The Legend of Bagger Vance
    Though it's sweet and likable to a fault, it's also a movie that never seems heartfelt or deep.
  6. Where's Marlowe?
    Although Where's Marlowe abounds with many supposedly clever ideas, it's about as badly made as anything you'll see anywhere on television.
  7. The Shipping News
    Beside its major virtues, it contains a vice: that one flat lead performance. Who would have thought Kevin Spacey would ever go dull on us?
    • 47 Metascore
    • 63 Critic Score
    Luther
    Aside from a couple of unintelligible conversations with himself, there's barely any God here. The film would rather just be inclusive. Luther might have wanted it that way, but as moviegoers, it's hard not to want more.
  9. The Last Shot
    Flockhart, as an actress desperate to show the world her talent but lethally unsure if she has any, embodies the obsessively driven personality it must take to make it, or to try to make it, in pictures. She's the personification of what The Last Shot could have been.
  10. Shall We Dance
    The movie tries hard to duplicate the original's mood and story, but, like Gere or Lopez, is too much of a visual knockout to rope us in.
  11. Sordid Lives
    A train wreck you can't help but watch.
  12. I Am David
    The beautifully shot but dramatically strained I Am David falls prey to the defect of all poor road movies: In gluing together unbelievable but convenient episodes with sugary sentimentality, it loses most of its credibility.
  13. Hiding Out
    It's a thoroughly professional job, but even in making a feature film, Giraldi still seems to be working to please a client. He shoots the script, supplying just enough style to make it stand up but not enough to make it move.
  14. Midway
    Midway isn’t bad, really. Certainly, it gets a lot more done than the cinematic cinder block that was the 1976 historical drama also titled “Midway.”
  15. Young Guns II
    A far more stylistically assured film than its fey predecessor, though it still carries almost no conviction.
    • 47 Metascore
    • 75 Critic Score
    Reno 911!: Miami
    This is not high art. It might not qualify as low art. But it is 90 minutes or so during which people can put their brains on the shelf and enjoy a few laughs.
  17. The Lost City
    Throbbing with music, seething with anger and romance, The Lost City is a film that breaks your heart, bewilders, alienates and ravishes you by turns.
  18. I Saw the Light
    Hiddleston, his eyes full of fire and melancholy longing, was an inspired choice. Everything not-quite-right with most movies, however, goes wrong long before the actors arrive on set.
  19. The Hitman's Bodyguard
    The result is passable stupidity leaning hard on its wily leading men. The movie’s also pretty galling in its unceasing brutality for laughs.
  20. The Wild
    It has a good director, snazzy visuals and some really funny animals, and that's at least half the battle.
  21. The Day After Tomorrow
    This often entertaining movie mixes grand, epic effects and amazing visualizations of catastrophe with a sappy family-in-crisis plot that would look hackneyed in a '60s Disney TV movie.
  22. The Trip
    Call it a weepy for the gay community:The Trip is an oddly marketed, oddly titled romance. Yes, there is a trip, but it takes place during the last 15 minutes of the film and seems almost tangential.
  23. Rambo: First Blood Part II
    In short, Rambo is very good at what it does, but what it does isn't always that good. [22 May 1985, p.1C]
    • Chicago Tribune
  24. Nine Months
    It's a big, smiley, free-floating blimp of a comedy: a farce about reluctant fatherhood that could use some parental guidance. [12 July 1995, p.N16]
    • Chicago Tribune
  25. High Spirits
    The film shows very little of the nar-rative assurance that has character-ized Jordan's previous work. [21 Nov 1988, p.2C]
    • Chicago Tribune
  26. Oscar
    Director John Landis' comic timing is a little slow in spots - we get the joke before he thinks we will - but Oscar generates a solid pace of rolling big laughs and winds up as a pretty good time at the movies. [26 Apr 1991, p.C]
    • Chicago Tribune
  27. The Legend of Zorro
    Well, it's pretty bad, a long way from the dash and satisfactions of the earlier picture.
  28. Irresistible
    He (Stewart) bogs down his talented cast with a bewildering plot, tired tropes and embarrassing dialogue. This one, well, it's simply resistible.
  29. 27 Dresses
    The eerily precise Heigl, who provided confident back-court support as the exile in Guyville also known as “Knocked Up,” has no trouble filling a leading lady’s shoes. She’s just snarky enough to be interesting, and she knows how to take a fall.
  30. Predator
    There's really nothing wrong with the movie; it delivers exactly what Arnold's audience wants, but I'm not part of that crowd. I'm tired of jungle fights and creatures with weird fangs. [12 June 1987, p.A]
    • Chicago Tribune
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