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. Salinger
    Salerno blows little more than smoke in this one, especially near the end, when we get to the maybe-probably-sort-ofs regarding the maybe-probably-possibly full vault of unpublished work.
  2. Sleepwalking
    Despite honorable work from Theron, Robb and Stahl, Sleepwalking makes good on its title in a not-so-good way.
  3. Alexander
    Vast, riveting, madly audacious movie biography.
  4. Club Paradise
    Throughout, Williams seems hampered, hand-tied and almost mind-controlled, as if afraid of letting his hyperkinetic style take off. That`s too bad, because without it, Club Paradise is amiable, amusing and effortless, words that are good news when the subject is bittersweet comedy and disaster when the intention was clearly slapstick.
  5. Bulletproof Monk
    First-time director Paul Hunter delivers a quick-cut, loud movie that betrays his MTV roots -- but then again, the script never demands that he do much more than exactly that.
  6. Clockstoppers
    With Clockstoppers, Frakes hobbles along with a high-concept film that doesn't live up to its potential.
  7. Fire Down Below
    There aren't many surprises in Fire Down Below, except for the presence of a few very good actors (Harry Dean Stanton, Kris Kristofferson, Levon Helm) and a slew of country stars in cameo appearances (including Loretta Lynn's twin daughters and singer Randy Travis, who looks to have a future as a movie heavy). [8 Sept 1997, p.C2]
    • Chicago Tribune
  8. National Treasure
    Overall the film is alluringly over-the-top without being overcooked.
  9. Shrink
    The script of Shrink, written by Thomas Moffett, plays like "Crash" without the angst or the perpetual racial conflagrations.
  10. Three Fugitives
    The film never adequately uses either the dramatic talents of Nolte nor the comic talents of Short. The young girl (Sarah Rowland Doroff) is most effective because she rarely speaks.
  11. Smurfs: The Lost Village
    The jokes are sodden, relying on tired wordplay and sarcastic delivery to draw the faintest of laughs.
  12. The Sisters
    The Sisters isn't just bad Chekhov; it's bad Chekhov modernized and then plunked in front of a camera.
  13. Aloha
    Despite a blue-chip cast, Aloha is just frustrating. It can barely tell its story straight, and Crowe's attempt to get back to the days of "Jerry Maguire" and "Almost Famous" is bittersweet in ways unrelated to the narrative's seriocomic vein.
  14. Insidious: Chapter 2
    The sequel's not bad; it's not slovenly. Some of the jolts are effectively staged and filmed, and Wan is getting better and better at figuring out what to do with the camera, and maneuvering actors within a shot for maximum suspense, while letting his design collaborators do the rest. But Leigh Whannell's script is a bit of a jumble.
  15. Teenage Mutant Ninja Turtles: Out of the Shadows
    Ultimately, any sass, sentiment and personality are obliterated in the noisy chaos of the climax, which is a grayish brown blur of flying spaceship parts, whirling turtle shells and shouts of "the beacon!" It's more cacophonous than cinematic, and loses the quirky charm of the cartoon in the avalanche of computer-generated violence.
  16. Pitch Perfect 3
    Pitch Perfect 3 is so breezy it's completely weightless, but it manages to deliver just enough of the goods.
  17. Beautiful Creatures
    That it is a pseudo-hip filmmaking fantasy doesn't make it any less pretentious, or any less a turnoff.
    • Chicago Tribune
    • 40 Metascore
    • 50 Critic Score
    Pay It Forward
    Too high-minded to stoop as low as it does, particularly in its unforgivably manipulative ending.
    • Chicago Tribune
  19. Head in the Clouds
    Townsend seemed to me ill-matched as a romantic hero: way too moony-eyed and mushy to cope with the likes of the towering Theron and torchy Cruz.
  20. Ernest Goes to Jail
    Ernest movies would still seem to be an acquired taste, but this one affords the adult viewer a few unexpected pleasures.
  21. Little Women
    This Little Women adaptation is faithful to a fault, which results in a very strange world where this group of five present-day women depends on men for their social lives and careers — basically anything that gets them out of their cozy house of feminine fantasy.
  22. A View to a Kill
    With Sean Connery as Agent 007, James Bond was a human-scale figure, an exceedingly cool guy to be sure, but a guy nonetheless. With Roger Moore as Bond, we are simply watching a lightweight actor stroll through a role.
  23. Double Impact
    While this production certainly ranks above Van Damme's prior efforts, it's still full of the sort of macho overkill typical of today's action genre. [09 Aug 1991, p.B]
    • Chicago Tribune
  24. Toys
    One of the most mawkish films ever made.
  25. Jupiter Ascending
    The movie doesn't really work, but the jet boots would be the envy of Iron Man, and they allow our hero, unwisely named Caine Wise, to speedskate through the air, leaving pretty little trails of light over downtown Chicago.
  26. Homefront
    Line to line, Stallone has a particularly numbing penchant for the f-word. But the key f-word in Homefront is "familiar."
  27. The 355
    Now and then The 355 sticks a landing.
  28. Saw II
    It's not a film, it's an excuse to show victims bleeding at the mouth, or getting shot in the eye, or plucking out their own eyeballs. Most gruesome of all, the sequel oozes dialogue that is best described as "functional."
  29. SpaceCamp
    Their adventures are not special, nor are their personalities. If young people want to experience a genuinely exciting airborne adventure in a movie theater right now, "Top Gun" is the picture to see--not SpaceCamp. [6 June 1986, p.AC]
    • Chicago Tribune
  30. RoboCop 3
    The show has its moments-some funny scenes, some wild stop-motion Phil Tippett computer action, some of Torn's scenery-chewing. But they're only moments. RoboCop 3's main problem is that nobody fouled up its program. It's a RoboMovie. [05 Nov 1993, p.C]
    • Chicago Tribune
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