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. Necessary Roughness
    Hector Elizondo and Robert Loggia are fine as the team's coaches. [27 Sept 1991, p.C2]
    • Chicago Tribune
  2. Enemy of the State
    To say Enemy of the State is senseless is an understatement. This is a movie where logic is the enemy.
  3. The Legend of Billie Jean
    Teenagers, who may not have seen this picture's many hero/outlaw predecessors, might like its the pop soundtrack, better-than-average acting and modest punk attire. Everyone else is likely to find Billie Jean the very thing that becomes a legend least. [22July 1985, p.3C]
    • Chicago Tribune
  4. Bootmen
    What it gains in fun, the film loses in credibility, as the production number itself more closely resembles a high-priced Las Vegas extravaganza than a quickly organized charity event.
    • Chicago Tribune
  5. Allied
    In a movie built around two characters, Pitt does not hold up his 50 percent.
  6. Office Space
    Drably shot, unimaginatively written and shallowly acted, it's a poor example of the "daffy, goofy, sex-crazed guys" occupational comedies that flourished throughout the job-obsessed '80s. [19 Feb 1999]
    • Chicago Tribune
  7. What About Bob?
    A broadly played, by-the-numbers comedy that pits your consummate classic nut case against your quintessential screwed-up shrink. [17 May 1991]
    • Chicago Tribune
  8. Over Her Dead Body
    The slapstick is crudely executed. And the movie never makes up its mind regarding how nasty the ghost of Kate is going to play her revenge tactics.
  9. Agent Cody Banks
    With her low voice, jumpsuits, cleavage and Segway, Miles (Harmon) is all satire all the time, and we love her for that.
  10. Triple 9
    It's not a ridiculous degree of complexity per se, but screenwriter Matt Cook mistakes solemnity for gravity, and a high body count for dramatic urgency. The cast is terrific, unfortunately.
  11. DysFunktional Family
    Griffin may well get there, but he's not there yet.
  12. Echo In the Canyon
    How did an apparently sincere tribute turn into such a weirdly clueless vanity project?
  13. Punchline
    Punchline is supposed to be Tom Hanks' big dramatic breakthrough movie, but the script is boring and his character repellant. [30 Sept 1988, p.A]
    • Chicago Tribune
  14. No Reservations
    After seeing No Reservations you'll be hungry for a really top-flight meal. And, to go with it, a better film.
    • 67 Metascore
    • 50 Critic Score
    Ghosts of the Abyss
    Ultimately, this talking dog don't hunt.
  16. Juice
    It's a perfectly competent film, but the title quantity is the one thing this dry and earnest movie hasn't got.
  17. Dung che sai duk
    Ashes of Time Redux remains a hermetic and rather frustrating work, dotted by lonely, windblown figures dwarfed by the sand dunes of western China.
  18. Crossing Over
    The movie expresses honest concern for the plight of so many newcomers to America, legal or illegal. What it lacks is moment-to-moment credibility.
  19. Prime
    I found nothing likable or funny about either of these characters, who both deserve a pie in the face. (One of them even gets it.)
  20. The Last of Robin Hood
    Kline took on Douglas Fairbanks in Richard Attenborough's "Chaplin" and Cole Porter in Irwin Winkler's "De-Lovely"; he's the go-to biopic ace for roles requiring some fizz, a certain droll elevation and hair parted and slicked-back just so.
  21. The Fate of the Furious
    It's ridiculous but fun, as it careens from Havana to Berlin and icy, terrorist-ridden Russia played by Iceland, and a spit-ton of medium-grade digital effects. But the second hour gets to be a real drag, and not the racing kind.
  22. Sleepover
    A sweet, effective installment, an often bright and efficient repository for the slapstick laughs and cutesy sentiments so beloved by this age group.
  23. The Big Wedding
    The movie's own brand of charm has its subset of smarm.
  24. The French Dispatch
    In his fastidious, exacting, extraordinarily blinkered creation, writer-director Anderson this time has driven straight into a cul-de-sac, stranding every sort of good and great actor in the cinematic equivalent of a design meeting.
  25. Life After Beth
    Aubrey Plaza is so deadpan she's undeadpan, and not just in her new zombie movie.
    • 37 Metascore
    • 50 Critic Score
    Dieu est grand, je suis toute petite
    In her (Audrey Tautou) latest film, a quest for romantic and religious fulfillment called God Is Great, I'm Not, she stretches her range to encompass one more personality trait: annoying.
  27. Rape Me
    Fast-moving shocker, but it's a dull shocker, so morally dead that it deadens you to watch it. After a while you couldn't care less if anyone is slaughtered or raped -- including the heroines.
  28. I Care a Lot
    The acting’s uniformly strong, and the script is distressingly weak.
  29. The Sitter
    I hope Green one day finds a way to bridge the style and rhythm of his early pictures (the ones that didn't make money) and the bumper-car approach of The Sitter.
  30. Divergent
    The generic bulk of Divergent hits its marks and moves on.
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