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. Maze Runner: The Scorch Trials
    Though Ball's workmanlike handling of the second in the trilogy, "The Scorch Trials," proves mainly that he can keep a franchise from running completely off the rails when the tracks have been laid perilously near a swamp of "dys-lit" cliches.
  2. Boyz n the Hood
    Boys N the Hood wants to be “The Learning Tree'' and “Super Fly'' at once, an ambition that doesn't seem quite honest. [12 July 1991]
    • Chicago Tribune
  3. My Fellow Americans
    Watching actors this good handle material this dopey is like waiting for Itzhak Perlman to pick up his violin and start playing variations on My Baby Does the Hanky Panky. It's funny. But it's also sad. The movie suggests we get the government we deserve, but do we really deserve this movie?
  4. Passengers
    The problem is that one can't help but think of better, more interesting movies based on this premise.
  5. Ghost Ship
    An adequate horror movie for the Halloween season, but it too easily sinks into haunted-house-film conventions, even if the haunted house is decked out as an Italian luxury liner.
    • 67 Metascore
    • 50 Critic Score
    The Ninth Day
    Though The Ninth Day longs for a grander scope, it never lifts much beyond Kremer's personal dilemma.
  7. Ted
    You can find this clever, or you can find it lazy, and this is why MacFarlane is the biggest mixed blessing in contemporary TV comedy: He is both.
  8. Hunter Killer
    Hunter Killer needs its radar calibrated, because while it bounces between serious and silly, it never quite finds a suitable place to land.
  9. Killing Zoe
    The movie is slick, good-looking, nicely edited and empty. [09 Sep 1994, p.F]
    • Chicago Tribune
  10. Delivery Man
    The film isn't terrible; Vaughn, Pratt and, as David's frustrated girlfriend, Cobie Smulders know what they're doing in terms of finessing the material for laughs as well as the h-word. But it's all sort of unseemly.
  11. Mr. Destiny
    It's to Belushi's credit that, under such severely strained circumstances, he manages to come off as both likable and plausible - qualities that the venal Mr. Destiny otherwise lacks. [12 Oct 1990, p.B]
    • Chicago Tribune
  12. Entourage
    Piven's performance basically made the series, and to the degree the new film works, which is a little, he makes that too.
  13. Scream
    I wish this movie offered a little less running commentary and a little more running — anything, really, to get itself off the treadmill of self-critique and self-congratulation and actually going somewhere new.
  14. Coyote Ugly
    Meant to be appreciated solely for its gleaming surfaces.
    • Chicago Tribune
  15. Final Analysis
    What is genuinely chilling about Final Analysis lies not in the foolish plotting but in the completely callous attitude of the director and writer, who are interested in their characters only as compositional elements or, at best, game pieces to be pushed around a board. It`s a cold, distant work of no compassion and, finally, no importance.
  16. A Dog's Purpose
    The real problem here, though, is that it's painfully cheesy pablum, relying on hokey burger joint and Friday night football game stereotypes to take the place of character development.
  17. Wendigo
    Fessenden cooks up a likably offbeat horror movie. But somehow, it never jells, never really scares us.
  18. Pet Sematary
    Pet Sematary finesses some of the bumpy narrative moments from the original, but where it forges its own path is in rewriting Ellie's story. This is initially intriguing, but it ultimately reveals itself to be the less original choice, relying on horror archetypes and tropes we've seen before.
  19. Lucky Break
    The movie moves predictably to its feel-good finale.
  20. You People
    With a smooth overlay of LA sights and sounds, and a side of blueprints stolen from “Guess Who’s Coming to Dinner” and “Meet the Fockers,” “You People” ends up a lot less insightfully funny than “Black-ish.”
  21. Timecop
    Van Damme is compelling only when he takes his clothes off, which he doesn't do often enough here.
  22. The Exorcism of Emily Rose
    It's hard to get riled up one way or the other by a film about an exorcist who is forced, cruelly and relentlessly, to introduce one flashback after another.
  23. 40 Days and 40 Nights
    This pretty but witless movie is well-produced, slickly directed -- full of jokes about hot dudes and hot babes pitched right at the "American Pie" crowd.
  24. Get Smart
    Missed it by that much. Actually, the new version of Get Smart misses by a fair-size margin.
  25. Fifty Shades Freed
    The films are bad, but they are entertaining. Fifty Shades Freed, the final film of the trilogy, just might be the most competently made yet — which is a shame for those expecting the high camp factor of "Fifty Shades Darker."
  26. That Awkward Moment
    It's nice to see a movie in love with New York City, but That Awkward Moment sets such a low bar for Jason's redemption it becomes a drag.
  27. Criminal
    Criminal is an exercise where viewers are likely to ponder not "How did the characters do it?" but "Who cares?"
  28. Hitch
    The movie, like Hitch, tries to be cool, funny and sweet but falls on its face without generating any real sympathy, smarts or humor.
  29. Mighty Morphin Power Rangers: The Movie
    The special effects are surprisingly good. And the too-numerous fight scenes have a certain flavor, since Ivan's henchmen always explode in ooze when they are destroyed, which brings out the eeewww in the audience.
  30. The Hollars
    The always wonderful Martindale nails the tone in her warm and nuanced performance, combining sly humor and a soulful presence, while the men orbiting around her range from complete goofs (Copley and Jenkins) to self-involved and dour (Krasinski).
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