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. The Boy Next Door
    I wish The Boy Next Door were a different, zingier sort of mediocrity, but whenever it threatens to go the full Zalman King "Two Moon Junction" route, it pulls back and behaves itself and settles for a grindingly predictable series of escalations.
  2. Reminiscence
    This one is strictly a welding job, grabbing parts of “Blade Runner,” a bolt and a nut or two from “Vertigo” (though not as much as “Phoenix” did) and notions of commercially desired fantasies of pasts real and imagined, straight from “Westworld.”
  3. 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
  4. The Skulls
    A fast, slick, outlandish fiasco that starts out well and then seems to drop right off a cliff.
  5. Van Wilder
    An unabashedly bad movie full of cliches, claptrap, fairly good rock 'n' roll and stomach-turning gross-out gags.
  6. The Nude Bomb
    The quality of a movie comedy varies indirectly with the number of times someone in it is punched or kicked in the groin. On that score alone, "The Nude Bomb" is a bust. [09 May 1980, p.29]
    • Chicago Tribune
  7. The Rookie
    It's hard to imagine what prompted Eastwood to direct and star in such a creaky vehicle unless this was his commercial payback to Warner Bros. for letting him make his excellent, financially disastrous White Hunter, Black Heart this year. [07 Dec 1990, p.C]
    • Chicago Tribune
  8. Little Fockers
    The sole memorable scene involving a little Focker in Little Fockers, though memorable doesn't mean amusing, involves Ben Stiller's male-nurse character administering a needle full of adrenaline to his dyspeptic and unhappily aroused father-in-law Jack Byrnes, played by Robert De Niro.
  9. Blue Steel
    The sole curiosity in Blue Steel is the sight of Jamie Lee Curtis in cop`s uniform. There is nothing more to it than that-no tension, no character.
  10. Madame Web
    It plays like a bland, third-season Marvel series as watched on a 12-year-old TV set playing in the wrong dramatic aspect ratio, which I realize isn’t a real thing. But now it is.
  11. Keeping Up with the Steins
    Squanders a decent comic premise.
  12. National Treasure: Book of Secrets
    All you want from a movie like this, really, is a little brainless fun, and it keeps holding out on you. Everyone looks fatigued. Even Cage’s toupee seems ambivalent about having signed on for a sequel.
    • 36 Metascore
    • 38 Critic Score
    Push
    Director Paul McGuigan ("Lucky Number Slevin") has never been keen on plot logic, and that might be fine here if he offered anything other than Peter Sova's lush images of Hong Kong.
  14. White Chicks
    Some film premises are so outlandish, so thinly worked out and so deep-down ridiculous that they wind up sinking the show -- and White Chicks collapses under a real doozy.
  15. Yours, Mine and Ours
    Even as slapstick, it's a major snoozefest.
  16. Dolittle
    The problems begin and end with the script, credited to three writers. “Dolittle” turns its title character into an eccentric and wearying blur of tics, tacked onto a character who comports himself like a bullying, egocentric A-lister rather than someone who, you know, actually enjoys the company of animals.
  17. Grind
    This movie is just not cool or hip or in any way extreme. Sitting through Grind is a real grind.
  18. Touch of Pink
    Sweet-tempered but superficial.
  19. Pretty in Pink
    What we have here is a much less radical movie than writer Hughes probably believes he has created. Yes, he's given us an individualistic girl, but she swoons like a robot after the first reasonably human WASP or WASC asks her for a date. [2 Feb 1986]
    • Chicago Tribune
  20. The Mothman Prophecies
    A gaudy yet grim science-fiction horror movie of such surpassing silliness, humorless intensity and stylistic overkill that watching it may actually put you in a state of paranoia.
  21. Ghost in the Machine
    It's those scenes-and computer graphics ingeniously engineered by Richard Hollander and VIFX-that give "Ghost" what little kick it generates. Its hero and villain may be hackers, but its heart is hack. [30 Dec 1993, p.20]
    • Chicago Tribune
  22. Harry Brown
    The tragedy is that the performance comes to nothing. Nearly everything else in the film is vile.
  23. The Kid & I
    Though The Kid & I falters as both a comedy and an After School Special, it works as a rather touching episode of "This is Your Life," with a parade of cameos from Arnold's career that'll coax a sniffle or two from his family.
  24. A Lot Like Love
    A poor man's "When Harry Met Sally."
  25. Marci X
    The actors had little to work with in this passe social satire, but sharper performances might have saved Marci from total humorless ruin.
  26. National Lampoon's Christmas Vacation
    The third and easily the worst in the series of hapless adventures of the Griswold family of suburban Chicago. [1 Dec 1989, p.A]
    • Chicago Tribune
  27. Into the Storm
    Nobody watches a disaster movie starring digital tornadoes expecting Oscar Wilde. But Into the Storm, directed with bland efficiency by Steven Quayle of "Final Destination 5," reminds us that unless a movie establishes certain base-line levels of human interest, it runs the not-unentertaining risk of coming out squarely in favor of its own bad weather.
  28. The Protector
    Anytime Jaa isn't on screen, The Protector sputters.
  29. Homefront
    Line to line, Stallone has a particularly numbing penchant for the f-word. But the key f-word in Homefront is "familiar."
  30. 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.
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