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. The Crush
    Shapiro has constructed a by-the-numbers script that telegraphs every plot twist with the exertion of its setups. We know that a hive of yellow jackets in the orchard, a carousel in the attic and Darian's fondness for horses will somehow make it into the final minutes of the film. It is hard to work up the curiosity to stick it out and find out how. [6 Apr 1993, p.7]
    • Chicago Tribune
  2. Stick
    Stick is quite awful.
    • 71 Metascore
    • 38 Critic Score
    Splash
    This comedy-romance about a mermaid who falls in love with a man does have one thing going for it, the lithe shape and pleasant underwater smile of actress Daryl Hannah. Otherwise, it's a desperately unfunny film that wastes the talents of SCTV favorites John Candy and Eugene Levy. [08 June 1984, p.12]
    • Chicago Tribune
  4. All About Steve
    There’s nothing wrong with All About Steve that a rewrite couldn’t fix, as long as the rewrite involved a different writer, a different character and a different story.
  5. The Good German
    The Good German is just stiff. When Soderbergh tries one of those patented swoop-in-on-the-diagonal moves at a key dramatic moment, the effect is comic. And at that precise moment, the story starts dying a slow, oxygen-deprived death.
  6. The Ridiculous 6
    Strange as it seems, if you choose to set aside the female roles in The Ridiculous 6 reducing women to cleavage or to mute humiliation, the movie is a long, long way from the worst Sandler movie ever made.
  7. The Boss
    The Boss has zero finesse as a comedy.
  8. Woman Thou Art Loosed
    Jakes' characters are points to be made, flesh and blood cautionary tales that don't particularly feel human. His dialogue, even in the mouths of Michelle and her troubled mother, sounds as if it comes straight from the pulpit.
  9. Texas Rangers
    I can only hope that this film was a lot of fun to make. That way, someone will have enjoyed the experience.
  10. The Twilight Saga: Breaking Dawn - Part 1
    Reveals a flash or two of real filmmaking (mostly in a suggestively grotesque birthing sequence), enough to save it from pure lousiness.
  11. How to Lose a Guy in 10 Days
    I can't think of much that might happen on a date evening that could be more annoying than this movie.
  12. The Kid
    Falls flat on its face.
  13. Raise Your Voice
    Worst of all, though, is the movie's moral maneuvering.
  14. Jay and Silent Bob Strike Back
    Now that Smith has gotten these characters and jokes out of his system, here's hoping he can turn to material that doesn't require winking at the audience.
  15. S.W.A.T.
    Technically clever but emotionally bankrupt...it's an almost laughably opportunistic movie.
  16. Torque
    It may entertain you if you don't mind senseless stories and screaming soundtracks.
  17. The League of Extraordinary Gentlemen
    Outrageously vapid and overdone movie.
  18. Robin Hood: Prince of Thieves
    The picture only comes alive at the end with Robin and his Moorish helper (Morgan Freeman in a typically strong performance) turning into a medieval Butch Cassidy and the Sundance Kid in hand-to-hand combat with the sheriff. Otherwise, Robin Hood: Prince of Thieves is an entertainment without a particular point of view.
    • 63 Metascore
    • 38 Critic Score
    The Signal
    The Signal combines the inconstancy of an omnibus film with the blandness of art by committee. The end result feels less like a blend of distinct styles than an opportunistic hodgepodge, a second-hand premise wedded to an attention-grabbing gimmick.
    • 47 Metascore
    • 38 Critic Score
    He's Just Not That Into You
    Some of the players comport themselves better than others--Barrymore is sweetly wistful in her minor role, while Johansson, as a confident go-getter who sets out to steal her crush object rather than moon over him, is sexier than the whole cast put together.
  21. Pirates of the Caribbean: On Stranger Tides
    The wastrel Sparrow ends up both overexploited and underpowered in this fourth outing.
  22. The Perfect Game
    The film is perfectly mediocre, which is heartbreaking, not heartwarming.
    • 12 Metascore
    • 38 Critic Score
    The Master of Disguise
    A disjointed film that, but for brief flashes of comedic verve, should skip theatrical release and go straight to video.
    • 21 Metascore
    • 38 Critic Score
    The Car
    A possessed-car film that beat Christine by a few years but is a much inferior version. [02 Feb 1993, p.3C]
    • Chicago Tribune
  25. Basic Instinct 2
    Once the credits are done rolling it's a dour, enervated mystery, selling the old cat-and-mouse games.
    • 27 Metascore
    • 38 Critic Score
    The Women
    It's a high-powered cast, but it has painfully little to work with, apart from widely varying humor.
    • 49 Metascore
    • 38 Critic Score
    Sex Drive
    Sean Anders' derivative gross-out movie Sex Drive is easier to take if you accept that the answer to every baffling plot question is "because it’s a teen sex comedy."
  28. All the Old Knives
    All the Old Knives settles for all the old tropes.
  29. Love Hurts
    It’s such a drag to see Ke Huy Quan undermined so persistently by the script and the role handing him his first lead in a movie.
  30. London Has Fallen
    The film, with its wearying gamer-style rounds of death, is routine at best.
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