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. Needful Things
    Slow-paced and repetitive, Needful Things is overlong and overwrought, and the whole thing should be promptly exorcised. [27 Aug 1993, p.A]
    • Chicago Tribune
  2. Love in the Time of Cholera
    Newell has done some fine work in all sorts of genres, from “Four Weddings and a Funeral” to “Harry Potter and the Goblet of Fire,” but in “Cholera” he seems to be chronicling a half-century of events, passions and desires as a tourist, not a native.
    • 43 Metascore
    • 25 Critic Score
    The Final Season
    Viewers who don’t flee the intrusively uplifting soundtrack and choking sentiment get just what that opening promised: a by-the-numbers, based-in-reality inspirational sports movie, thick with overwhelming pride and nostalgia for small-town farmland America.
  4. For Love of the Game
    Much of this movie seems a crock.
    • Chicago Tribune
    • 43 Metascore
    • 25 Critic Score
    The Young Unknowns
    There is nothing to redeem this movie, and no real reason to see it.
  6. American Wedding
    The crass sentimentality of American Wedding increasingly fits Norman Mailer's definition: "the emotional promiscuity of the basically unemotional." The jokes are unemotional, uncouth and mostly unfunny.
  7. Frozen
    The film moves along, in its paradoxically static way, at a pretty fair clip. I look forward to Green's follow-up.
  8. The Uninvited
    The actors are strong, however, and Banks in particular shows some skill and wiles in keeping her rascally stepmother stereotype lively.
  9. Basic Instinct
    Verhoeven does not explore the dark side, but merely exploits it, and that makes all the difference in the world.
  10. The Aftermath
    Director James Kent’s pretty, frustrating picture has atmosphere in spades, and a diamond-like sheen, but its tale of hearts aflame is slowly clubbed into submission by an excess of taste.
  11. Unaccompanied Minors
    If the writers had the guts (and the jokes) to fashion a bittersweet comedy with a fully earned happy ending, Unaccompanied Minors probably wouldn't have been made. As is, it's a prefab slapstick-'n'-pathos stew that doesn't taste like anything.
  12. A Big Bold Beautiful Journey
    There are some affecting inner child healing moments here, but without details and specifics, this is a big, bold swing, but a beautiful miss.
  13. Skin Deep
    There is one hilarious sight gag involving prophylactics, and one can't argue with the film's sobering message, but otherwise Ritter's character is mostly a bore. [3 March 1989, p.A]
    • Chicago Tribune
  14. True Colors
    The setup is so startlingly unlike the rest of True Colors, so moody and visually ambiguous, that it hits you both with the force of the moment and with regret for what this movie might have been. [05 Apr 1991, p.D]
    • Chicago Tribune
  15. Wonderland
    Fast and frenetic and so unvarnished that it can make you feel unclean watching it. The film rubs your face in glamour and filth. But in the midst of the blood and hysteria, Kilmer plays Holmes with the dirty-angelic looks and wheedling charm of a seedy golden boy on the brink of doom.
  16. Death Race
    Nothing in director Paul W.S. Anderson's schlock drawer--prepares you for the peppy, good-time nastiness that is Death Race.
  17. Not Easily Broken
    The film is likable. Its messages, many of them Lord-oriented, are all equally heartfelt.
  18. Machine Gun Preacher
    The events of the movie may be a little bit true, or a lot, but hardly any of it plays that way.
  19. Instinct
    In this bizarre tale of man among the apes and a psychiatrist among madmen -- an over-emotional hybrid of "Gorillas in the Mist" and "One Flew Over the Cuckoo's Nest" -- style buries substance.
  20. Segunda piel
    The gay sex in Second Skin is vividly displayed and erotically charged, while the heterosexual material is presented discreetly.
  21. The Forgotten
    The stylish and imaginative imagery in director Joseph Ruben's film, not to mention the parapsychological twists and mysteries, evoke the work of director M. Night Shyamalan.
  22. I Do... Until I Don't
    Atits gooey center, I Do ... Until I Don't is like vanilla cake. It is sweet, but generally there's nothing that memorable about it.
    • 43 Metascore
    • 50 Critic Score
    Trust the Man
    Trust the Man could easily carry the following subtitle: "Men Who Behave Like Petulant, Spoiled Children and the Women Who Decide It's Easier to Love Them As-Is Than To Try to Turn Them Into Grownups."
  24. Monte Carlo
    Unlike a few other well-drilled young actress-singers we could name, such as the one whose name rhymes with "Riley Myrus," Gomez knows how to relax on camera.
  25. Dark Phoenix
    I mean, whatever with the “X-Men” movies. It’s hard to even rent an opinion on the discrete strengths and weaknesses of a franchise that has devolved to the point of Dark Phoenix, a lavishly brutal chore nearly as violent as the Wolverine movie “Logan,” and a movie featuring more death by impalement and whirling metal than all the “Saw” movies put together.
  26. 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.
  27. Brooklyn's Finest
    Good actors and a talented director doing what they can to bring the truth to a script that's mostly bogus.
  28. M. Butterfly
    M. Butterfly, David Cronenberg's visually stunning but oddly cold and sparkless adaptation of the much-prized David Henry Hwang play. [08 Oct 1993]
    • Chicago Tribune
  29. America: Freedom to Fascism
    Aaron Russo's America: Freedom to Fascism can't even think straight, it's so mad.
  30. Glass
    Way back in “Unbreakable,” Jackson’s Mr. Glass bemoaned how comics superheroes “got chewed up in the commercial machine.” Glass proves it.
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