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. Fire in the Sky
    Fire in the Sky would seem more a candidate for a TV movie than a theatrical film. [14 Mar 1993, p.4C]
    • Chicago Tribune
  2. High Tension
    Like all horror films, High Tension builds to a final, sobering flash of chaos that settles all scores. Some viewers will hate Aja's movie for its end-game reveal; others will love it for the very same reason.
  3. The House That Jack Built
    A tedious picture about a remorseless serial killer, played by Matt Dillon.
  4. Take Me Home Tonight
    Take Me Home Tonight, believe me, you've already seen.
  5. Fluke
    What charmed me most about the movie was the interaction of the dogs themselves. [02 Jun 1995, p.J]
    • Chicago Tribune
  6. Heavyweights
    Just one more example of Hollywood cramming any old idea it can unearth into a moneymaking formula. [17 Feb 1995]
    • Chicago Tribune
  7. Big Daddy
    Recycling the regressive humor of his (Sandler’s) previous films, it piles on so much sentimentality that you wonder how anyone could consider him a renegade. [25 June 1999, Friday, p.A]
    • Chicago Tribune
  8. A Bad Moms Christmas
    A movie can be unreasonably formulaic and still be reasonably diverting, and A Bad Moms Christmas is the proof.
  9. Halloween Kills
    Green has made so many interesting movies, from “George Washington” to “Snow Angels” to the best bits in “Pineapple Express” and more recent genre exercises. Halloween Kills settles for the reductive, distressingly anonymous hackwork of its title.
  10. Barnyard
    It's a better-than-average animated feature.
  11. Arthur Newman
    Much as I enjoy the actors I didn't buy a word or frame of Arthur Newman.
  12. PCU
    It's not much more than a collection of clever sight gags and one-liners that leaves the door wide open for another, better film about political correctness on the quad. [29 Apr 1994, p.D2]
    • Chicago Tribune
    • 42 Metascore
    • 75 Critic Score
    Alex Rider: Operation Stormbreaker
    It's better than some James Bond movies--no matter what your age.
  14. The Loss of Sexual Innocence
    With The Loss of Sexual Innocence, director Mike Figgis reaches an almost comical low in the pursuit of what appears to be a desperate need to express deeper, uh, depth. Figgis' deliberate obfuscation may delight him, but it leaves the viewer mystified and bitter. [18 Jun 1999]
    • Chicago Tribune
  15. Jake Speed
    Jake Speed isn't a movie. It's just a financial deal.
  16. Suburbicon
    Ultimately Suburbicon is woefully underwritten. Gardner and Maggie are mere sketches, a set of facial tics and accessories masquerading as real characters.
  17. Return to Oz
    The Nome King looks like a moveable Mt. St. Helens and he alone is magical. In fact, he blows Dorothy and her tacky-looking friends off the screen. So we end up liking the Nome King and hating Dorothy and her crowd, which I doubt was the intention of the L. Frank Baum series. [21 Jun 1985, p.1]
    • Chicago Tribune
  18. King Arthur: Legend of the Sword
    Optimism is nowhere to be found in Ritchie's movie itself. It is a grim and stupid thing, from one of the world's most successful mediocre filmmakers, and if Shakespeare's King Lear were blogging today, he'd supply the blurb quote: "Nothing will come of nothing."
  19. Clue
    There's a movie here, and there's a gimmick. The gimmick undermines the movie and the gimmick is attached to the wrong part of the movie. Other than that, Clue offers a few big laughs early on followed by a lot of characters running around on a treadmill to nowhere. [13 Dec 1985, p.38]
    • Chicago Tribune
  20. Lionheart
    Van Damme himself, a graduate of the blank-stare school of acting, is so without emotional inflection on the screen that his most affecting moment in this film, if one is to judge from a preview audience's reaction, is when he drops a bathrobe for a couple of seconds of magnificent gluteal exposure.
  21. If Not Now, When?
    The film positions Black women at the center of their own stories, and this authentic portrayal of the platonic relationships that hold them together feels rich and true, a celebration of a feminine community that becomes family.
    • 41 Metascore
    • 50 Critic Score
    Knowing
    Until it jumps the tracks into self-righteousness, though, Knowing, directed by Alex Proyas, can also be as unnerving as the best episodes of "The Twilight Zone."
  23. Journey 2: The Mysterious Island
    Hutcherson spits his lines out as quickly as possible, which you appreciate, because the way the likable Johnson wrestles with his lines ("It looks like the liquefaction has tripled overnight!") you think, well, it's a living.
  24. Larry Crowne
    It's the neediest movie of 2011, and one of the phoniest.
  25. Milwaukee, Minnesota
    Maybe if Mindel had focused more on his characters, less on the silly "noir" trickery, his film would do Garity justice. As it is, go find better work, kid.
  26. For Keeps?
    The film is full of carefully balanced moral proclamations, to the point where it begins to resemble an episode of "Nightline." [15 Jan 1988, p.B]
    • Chicago Tribune
    • 41 Metascore
    • 50 Critic Score
    John Tucker Must Die
    Reasonably entertaining.
  28. Mad Money
    Diane Keaton--now there’s a trouper for you. She will not be caught giving less than 110 percent, even in a drab little heist comedy.
    • 41 Metascore
    • 38 Critic Score
    Next Friday
    Almost comes as a breath of fresh air. Too bad it's so foul.
  30. Godzilla 2000
    This is camp, pure and simple, and unless the translators have taken far greater liberties than is apparent, the filmmakers know it.
    • Chicago Tribune
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