Chicago Tribune's Scores

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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:
  1. Positive: 5,106 out of 7601
  2. Mixed: 1,473 out of 7601
  3. Negative: 1,022 out of 7601
7601 movie reviews
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  1. Kicking & Screaming
    It's Ferrell who is the vehicle, a mow-you-down comic engine, and everyone else is just along for the ride in this marginally effective, starkly unoriginal family comedy.
    • 45 Metascore
    • 63 Critic Score
    Madea's Family Reunion
    Gussied up for the big time, Perry now is aiming himself squarely at a mainstream, middle-class female audience -- with some sops for their dates.
  3. Smokin' Aces
    This film was not based on a video game, but that's the vibe and the aesthetic at work here: YEAH! KILL!, followed by a few muttered expressions of the horror, the horror.
  4. Mean Machine
    Sports movies are never easy to pull off, but Skolnick does a fine job of balancing the drama with the on-field action.
  5. Secret in Their Eyes
    Writer-director Billy Ray's Americanized redux isn't a disaster, exactly; it keeps its head down and does its job. But nothing quite gels, or clicks, or makes itself at home in its adopted setting.
  6. Imperfections
    As a caper, it’s a breezy hour and 43 minutes of well-done indie filmmaking. And the look and sound of the film (a driving funk-inflected score from Singer that says “heist!”) is right.
  7. Cocoon: The Return
    As directed by Daniel Petrie from the slightest excuse for a story by Stephen McPherson and Elizabeth Bradley, Cocoon: The Return amounts to little more than a desperate effort to fill a couple of hours of screen time, to which the commercially potent title can be affixed. [23 Nov 1988, p.C1]
    • Chicago Tribune
  8. Our Father
    At the moment, far too many true crime documentaries function as little more than an episode of “Dateline.” They report information but lack analysis or even thoughtful ideas about how to use the medium of film to tell a story at once shocking and infuriating. Such is the case with Our Father on Netflix.
  9. Twin Peaks: Fire Walk with Me
    The details of this Twin Peaks are slight and repetitious, and their meanings are numbingly obvious. Behind small town America's facade of sweetness and light, there exist darkness and evil-news that is a day late and about $7.50 short. [28 Aug 1992]
    • Chicago Tribune
  10. Angel Has Fallen
    At the heart of the “Has Fallen” franchise is the affection between men, and Butler has always shared the best chemistry with his male co-stars. That spark in “Angel” comes from Butler’s scenes with Nick Nolte, as his father, Clay, a veteran living off the grid.
  11. The Mother
    The second half of The Mother settles for the usual. But getting there makes for a fairly diverting series of melees in the name of child protection, with services rendered by a tough-love mom who does it all.
    • 45 Metascore
    • 75 Critic Score
    Stella
    Stella is a mother-daughter, best friend, Mom-must-sacrifice-all movie that will surely force a good many members of the audience to weep, sob, bawl, blubber, whimper, lament and/or shed a few tears. Yes, folks, this one's a bit lugubrious. [9 Feb 1990, p.J]
    • Chicago Tribune
  13. Country Strong
    My God is this script predictable. Each relapse and betrayal shows up announced, and then announced again, a little louder, by the dialogue equivalent of an aggravating doorman.
  14. 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.
  15. Rampage
    Rampage is a drag.
  16. The Expendables
    At one point Rourke delivers a monologue about his time in Bosnia, and the conviction the actor brings to the occasion throws the movie completely out of whack. What's actual acting doing in a movie like this?
  17. Adventures in Babysitting
    Adventures in Babysitting not only panders to expectations but also attempts to exploit fears and prejudices. [03 July 1987, p.A]
    • Chicago Tribune
  18. The Kid
    Falls flat on its face.
  19. S.W.A.T.
    Technically clever but emotionally bankrupt...it's an almost laughably opportunistic movie.
  20. How to Lose a Guy in 10 Days
    I can't think of much that might happen on a date evening that could be more annoying than this movie.
  21. Return of the Living Dead II
    ROTLD II may be junk, but at least in the hands of director Ken Wiederhorn it's efficient, well-filmed junk. [18 Jan 1988, p.7C]
    • Chicago Tribune
  22. Like Father Like Son
    Like Father Like Son has the cheap, florid look of a rejected television pilot, and the same air of anything-for-a-laugh desperation. [02 Oct 1987, p.J]
    • Chicago Tribune
  23. The Bedroom Window
    The Bedroom Window is not at all an unskillful film, but that, in some ways, is what is most discouraging about it: Hanson is more than good enough to do something of his own. In its drive to imitate the past, Hollywood is leaving itself without a present. [16 Jan 1987, p.L]
    • Chicago Tribune
    • 45 Metascore
    • 38 Critic Score
    Jonas Brothers: The 3D Concert Experience
    The film is awkwardly stitched together from candy-gloss arena concert footage and somewhat grimier-looking backstage/limo/hotel room moments. There is no attempt to make it all hang together as an organic whole.
  25. Above the Law
    The action sequences are sleek and strong enough, but the story that chains them together is too ambitious for its own good
  26. The Dogwalker
    Gordon, she of the Selma Diamond voice and mournful glare, is by far the most interesting aspect in a picture that might be termed unreleasably dull, if it weren't in fact in release at the moment en route to DVD.
  27. 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.
  28. Levity
    A film of almost paralyzing gravity and large ambitions that, almost inevitably, it can't quite meet.
  29. Bangkok Dangerous
    Always watchable and cinematically lively, but it never quite engages the emotions -- despite torrents of sentimentality and would-be heart-tugging scenes interspersed with the carnage.
  30. The Scorpion King
    A dumb movie, but it's also a knowing one: a cheap castle of lewd trivia and corny excitement built on The Rock.
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