Chicago Tribune's Scores

For 7,601 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:
7601 movie reviews
  1. The film works best once Hanks gets to the island along with love interest Meg Ryan. But it takes too long to get there. A fresh but needlessly drawn-out story. [9 March 1990, p.C2]
    • Chicago Tribune
    • 45 Metascore
    • 25 Critic Score
    Although Banderas occasionally shows flashes of style, individual elements too often go together like grits in a puff pastry.
  2. Despite intelligent, sympathetic direction by Gordon, a brilliant lead performance by Robert Downey Jr. and an adapted script written by Potter himself before his 1991 death, this "Detective" pales next to its predecessor.
  3. Two gifted co-stars, Denzel Washington and Angelina Jolie, and the highly imaginative thriller specialist Phillip Noyce lend some luster and credibility to another borderline-absurd scenario.
    • Chicago Tribune
  4. Just withers compared with many older, better movies about teen alienation and nihilism, from "Rebel Without a Cause" to "River's Edge."
    • Chicago Tribune
  5. The men here are negligible, but all the actresses are good -- especially Dunst, who shows a previously unrevealed gift for blending cold conservative roots, starchy appearance, forgiveness and unexpected redemption.
  6. The upside is that they're likable and play well together...The downside is that they're all still communicating roughly the same message, which lies somewhere between a wink and a nudge.
  7. If you're looking for purple romance with a social conscience, it doesn't get much more purple than God's Sandbox.
  8. Despite the actors hired to deliver the story, the superassassin of American Assassin isn’t quite human. He’s just revenge in a henley T.
    • 45 Metascore
    • 75 Critic Score
    The film, like the book, is clear-eyed without being clinical, reflective but never maudlin.
  9. Noisy, unsubtle, but it gets the job done.
  10. It's lively but chaotic and evasive. The period re-creation switches on and off. We get a sense of what the silver-walled Factory was like, but not the rest of swinging Manhattan in the '60s.
  11. Not funny because it's not true.
  12. Still Life is a very different story, small and quiet and, unfortunately, airless.
  13. The cast is not the limitation here. The limitation, and I found it to be a drag on this aggressively audience-pleasing indie, relates directly to its premise.
  14. How big a bastard can Woody Allen build a screenplay around and still generate a modicum of audience goodwill? The answer: not this big.
  15. A childish and visually repetitive movie, ham-fisted, proselytizing and overtly simplified.
  16. Hoodwinked treats "Red Riding Hood" as a detective story we've never really understood until now, with nuttier motivations, more complex characters and a screwier climax.
  17. The results feel a little harried, as if the focus issues were never really solved.
  18. Mad props to Peter Zuccarini, who headed the team of ocean-bound photographers and captured some remarkably vivid footage, and also to the actors, who spend plenty of time looking cool, calm and collected swimming with the predatory fishes.
    • 45 Metascore
    • 75 Critic Score
    The movie delivers on its own terms. It may emerge a bit bruised and tattered around the edges, but its ever-beating heart provides the ultimate Proof of Life.
    • Chicago Tribune
  19. The sum of all snores until the moviemakers start blowing up Baltimore halfway through. Then the special-effects people take over for about 20 breathless minutes.
    • 45 Metascore
    • 75 Critic Score
    This is a movie whose title promises to show teenage viewers how to cope with the messed-up, grown-up world they are entering, not how to make it perfect -- or even how to make sense of it.
  20. Despite the deftness with which Bigelow handles the transitions, the modern story never attains the intrigue and tension of the period tale.
  21. While some pedestrian camerawork and spotty acting from supporting players deflate Love Object, it has enough juice - and a surprising twist - to keep fans of the slow-burn horror genre enthralled.
  22. Sheffer`s calm serves as an effective counterpoint to Estevez`s coiled energy, and Morgan Freeman is outstanding as Charlie, an older bar owner who mediates between the two boys as they clash over the importance of women and the rapidly changing nature of their lives.

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