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. Whiskey Tango Foxtrot
    While it's no disaster, it's oddly indistinct and uncertain.
  2. Joe Bell
    There’s a good movie in the story of Joe Bell and Jadin Bell. The good one struggles to emerge from the good try we have here.
  3. Percy Jackson & the Olympians: The Lightning Thief
    Suggests that this could be the start of something adequate. Something big would've been nicer, though the movie's limitations are less a matter of scale than of imagination.
  4. Dirt Music
    The film undeniably captures the breathtaking and unique landscape of coastal Western Australia. It's an incredibly beautiful film, but it's a challenge to emotionally connect to it. It feels like the outline of what would have been an epic novel, but in the translation to the screen, it has lost its interiority, and anything profound it might have communicated.
  5. Heartburn
    Ephron delivered an incredibly flimsy script based on her novel about her former husband's repeated infidelity during their marriage and her pregnancies. Nicholson isn't given a character to play. He just lumbers onto the screen and cheats off-camera.
  6. The Opposite of Sex
    For all Ricci's zingers, the actress who gets the most laughs here is Kudrow, who has an amazingly right-on offbeat comic sense and rhythm. Playing a bright, sexually repressed Indiana teacher, she displays priceless timing. [19 June 1998]
    • Chicago Tribune
  7. Take the Lead
    The latest ballroom dance-fever picture isn't very good, but some of the dancing is fun.
  8. The Medallion
    A magic-meets-macho cop movie that's more gimmick than actual movie.
    • 54 Metascore
    • 50 Critic Score
    Eye of the Dolphin
    Young audiences will enjoy her journey from surly to empowered, and as countless visitors to Brookfield Zoo can attest, there's nothing like watching dolphins. So a star for Schroeder and a star for the title players.
  10. Till Human Voices Wake Us
    Pearce and Bonham Carter are remarkably photogenic, but the movie is fitful and mannered to a fault, full of watery allusions and stormy scares.
  11. Over the Top
    Over the Top is pretty much like all of the other successful Stallone films, which probably means that it will be a success, too. In fact, it`s considerably better than the ragged, recycled Rocky IV, though it lacks the wild excesses that made Rambo and Cobra campily entertaining.
  12. The Lucky One
    The leads' chemistry in The Lucky One is more theoretical than actual. Still, the sunsets and sunrises and sunbeams through the windowpanes fall easily on the eyes.
  13. The Center of the World
    All Center of the World has is the double entendre of its title, some unremarkable dramatic and sex scenes, and some embarrassing moments for its very game co-stars.
    • Chicago Tribune
    • 37 Metascore
    • 50 Critic Score
    Side Out
    There are few sports the movies haven't tackled. Side Out (1991) found one: volleyball. Thirtysomething star Peter Horton brings his shaggy dog sincerity to his role as Zack, the former king of the beach who gets a chance at redemption when he becomes mentor to C. Thomas Howell. [17 Sep 1991, p.3C]
    • Chicago Tribune
  15. Amelia
    Distressingly ordinary for such an extraordinary subject.
  16. Heavyweights
    Just one more example of Hollywood cramming any old idea it can unearth into a moneymaking formula. [17 Feb 1995]
    • Chicago Tribune
  17. Barb & Star Go to Vista Del Mar
    Wiig and Mumolo work so easily and smoothly together, you feel like an ingrate for not enjoying their efforts more in these script circumstances (especially since they wrote it). Now and then, though, the payoffs arrive.
  18. The Good Mother
    The strongest minutes in The Good Mother belongs to Chicago-trained Karen Aldridge. She takes care of business so well in her monologue about her character’s grief and loss, her exit from the narrative becomes just one more oh-well factor in an indifferent Albany noir.
  19. Candy Cane Lane
    I realize writing a new Christmas screenplay can’t be easy; to get made, it must check a certain number of predictable boxes. Murphy is game, but only in a few moments with Ross — small-talk scenes not dependent on forced wonderment or reaction-shot gaping — do they appear to relax and enjoy the company.
    • 40 Metascore
    • 50 Critic Score
    Anacondas: The Hunt for the Blood Orchid
    To be fair, it's little better or worse than the original. But, to be honest, the original--minus its nascent stars--wasn't very good.
  21. Highlander II: The Quickening
    Mulcahy has toned down the fancy, self-conscious camerawork of the original, which he also directed, and pushes the story forward with enough flash and pop to divert viewers from the shaky premises. [01 Nov 1991, p.F]
    • Chicago Tribune
  22. Best Laid Plans
    The plot thickens and thickens and thickens until it chokes on a tangled mess of double-crosses.
    • Chicago Tribune
  23. Rules of Engagement
    Written with such murderous gravity, certainty and gloomy solemnity - such an absence of real life or feeling - that it tends to kill our interest.
  24. Little Women
    This Little Women adaptation is faithful to a fault, which results in a very strange world where this group of five present-day women depends on men for their social lives and careers — basically anything that gets them out of their cozy house of feminine fantasy.
  25. The Transporter
    Muddles through as a film so uninterested in character, it doesn't bother assigning names to them.
  26. Staying Alive
    A typically weak sequel that has no legitimate artistic reason for being. [July 22, 1983]
    • Chicago Tribune
  27. The Mostly Unfabulous Social Life of Ethan Green
    The film's tone veers from misjudged sincerity to shrill sketch comedy of the broadest stripe.
    • 37 Metascore
    • 50 Critic Score
    The Last Sin Eater
    The lovely shots of Appalachian vistas are spoiled by cheesy special effects straight from the 1960s Chroma-Key era.
    • 30 Metascore
    • 50 Critic Score
    A Day Without a Mexican
    Never really moves beyond its premise. It never takes us to a place of real understanding.
  30. Biutiful
    For many, this central performance will be more than enough. For others, the film will simply be too much.
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