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. Reeves is immediately on the run after the explosion, one of at least a dozen images of him running from danger in "Chain Reaction." He runs so much, sometimes with a boring female scientist in tow, that you think he's been cast in the role of the bus in "Speed." He's shot at, bombed and chased by fireballs...But no amount of speed can distract us from an unfulfilling story about just who wants to destroy this breakthrough experiment. Only Freeman's rich voice holds any interest; it's a powerful instrument, highlighted by pauses and economy of speech, that is captivating in roles as diverse as this one and the veteran con in "The Shawshank Redemption."
  2. Uruguayan-born Fede Alvarez (“Don’t Breathe,” the recent “Evil Dead” reboot) handles the action breathlessly and well enough. The movie’s acted with serious conviction. But I kind of hate it.
  3. A preposterous screwball psychological drama.
  4. In movies as in life, superior technology doesn't necessarily trump humor, magic or really shaggy dogs.
    • 43 Metascore
    • 50 Critic Score
    What worked about the first “Maleficent” was Jolie herself, trying on something softer, even funny, her face, enhanced with prosthetics, half of the visual spectacle. But “Mistress of Evil” crowds Jolie. Maleficent fades to the background, eclipsed by full-camp Pfeiffer as the evil, Trumpian dictator queen.
  5. This is a good-hearted movie that unfortunately is wildly implausible and makes no sense.
  6. American Pie 2, which brings back the same cast for more of the same, is just another by-the-numbers, money-hungry sequel with a lot of recycled shaggy-sex jokes and gross-out gags.
  7. Tries to take us from heaven to hell but winds up leaving us in limbo: exasperated and dumfounded.
    • Chicago Tribune
  8. Has some of the wit, sass and sexual candor of an "Annie Hall." But it covers the same kind of territory with more bite and bile.
  9. Refreshingly resistant to predictability.
  10. Medicine Man is a sympathetic project that gets done in by an excessively aggressive screenplay - one that keeps manufacturing artificial conflicts and false climaxes where some more relaxed character work would have gracefully done the trick. [07 Feb 1992, p.3]
    • Chicago Tribune
  11. The actors aren’t the problem with Night School; the material is.
  12. The movie marches in predictable formations as well. But when Biel's rebel pulls over in her hover car and asks Farrell if he'd like a ride, your heart may sing as mine did.
  13. An outrageously unlikely prison action movie made with lots of eye-catching pizzazz and undeserved expertise.
    • Chicago Tribune
  14. It's just another case of mourning over what might have been.
    • 43 Metascore
    • 25 Critic Score
    This film should have clocked in at 90 minutes, tops, rather than almost two hours. A good, healthy scissor-snipping might have allowed some of its quirkier aspects (like the use of a stun gun and a jaw-dropping lab result) to stand out more.
  15. Unfortunately, after watching Paycheck, you may wish you had the picture's gimmickry at your disposal, so you could erase your own memory of it.
  16. A dreadful witches' comedy with the only tolerable moment coming when Bette Midler presents a single song.
  17. Doggedly, or rather wolfishly, the film doesn't go in for camp or mirth, at least until its misjudged and semi-endless wolf-on-wolf climax.
  18. I truly wish Dear John were a better, less shamelessly manipulative movie, but a couple of the actors got me through it alive. One is Amanda Seyfried.
  19. Too much of the film is a muddle, and it feels like work, not play.
  20. A mild and static attempt at sincere camp.
  21. The whole schtick of these movies is the treat-motivated, not-quite-getting-it doggie voice-over, performed by Josh Gad, and it lightens the film. But going dark and emotional makes the film work better than the prior two.
  22. Its message is that if we get to know each other, everything will be okay. Admirable, that. But the way in which it is delivered is so hampered by stereotypes and lathered in cute that one is never able to trust its intentions or swallow its story. [06 Nov 1987, p.56C]
    • Chicago Tribune
  23. This peek into a famous love story makes the audience a participant in the affair, inspiring questions of perspective and truth in love and art, where the only truth worth anything is one deeply felt.
  24. The new Walt Disney version of "The Three Musketeers"-plushly mounted, but ineptly written and cast-gallops along like a gargantuan tutti-frutti wagon running amok. [12 Nov 1993, p.C]
    • Chicago Tribune
  25. First-rate actors bail out second-rate directors all the time, and Freedomland serves as the latest example.
  26. Final Destination 3 is a gorefest that should either slake your worst appetites or drive you to the exits.
  27. A dull, amateurish mixture of the sentimental and the obvious.
  28. The heartbreaking thing about Meet Dave...is its occasional funniness amid a sea of pablum. If it were completely rank, it'd be less frustrating.

Top Trailers