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. Fun Size
    It's a soul-crusher, and when I say it may be the most dehumanizing experience since "Hostel: Part II" the comparison is not an idle one.
    • 37 Metascore
    • 50 Critic Score
    When Do We Eat?
    By the time the ending rolls around, as we watch the slow unclamping of jaws from jugulars, we feel exhausted. Imagine how the actors must have felt.
    • 37 Metascore
    • 63 Critic Score
    Garfield: A Tail of Two Kitties
    When the humans have the sense to keep quiet, and the animals are doing their shtick, there's great fun to be had.
  4. 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.
  5. Love Ranch
    What could have been a juicy, pulpy noir, based loosely on the real-life 1976 Mustang Ranch love triangle involving Joe and Sally Conforte and Sally's boxer paramour, instead has the dramatic consistency of rice milk.
  6. The Golden Child
    A weirdly out-of-scale movie that constantly juxtaposes the trivial and the cosmic, less to comic effect than to a mounting sense of muddle and uncertainty.
  7. Honey
    Has the shelf life of a dented milk carton. Pop-culture movies in general age rapidly due to ever-changing slang and fashions.
  8. The Nut Job
    Big problem straight off: tone. The violence isn't slapsticky; it's just violent.
  9. Wisdom
    A dim-witted remake of the great "Bonnie and Clyde," with Estevez playing a decent young man saddled with an unfair criminal record that prevents him from getting a job. [9 Jan 1987, p.AC]
    • Chicago Tribune
    • 37 Metascore
    • 50 Critic Score
    The Last Sin Eater
    The lovely shots of Appalachian vistas are spoiled by cheesy special effects straight from the 1960s Chroma-Key era.
  11. Battle: Los Angeles
    Original, it's not. Exciting, it is. This jacked-up B-movie hybrid of "Black Hawk Down" and "War of the Worlds" is a modest but crafty triumph of tension over good sense and cliche.
  12. Child's Play 2
    It is hard to imagine a world where films such as Child's Play 2 - essentially, a dim excuse for a prolonged, extremely exploitative display of abused and abusive children - can pass as mainstream entertainment. [13 Nov 1990, p.3C]
    • Chicago Tribune
  13. Suspect Zero
    The script isn't really good enough to worry about whether it's being over-directed; in fact, E. Elias Merhige's over-direction is one of the best things about this movie--along with Ben Kingsley's grimly unstoppable killer-of-killers, Benjamin O'Ryan.
  14. Cold Creek Manor
    Perhaps Figgis proves his unconventionality with Cold Creek Manor after all, creating a thriller without resorting to the genre's usual bag of tricks.
  15. The Principal
    It's basically an anger film, a catharsis for problems we haven't learned to solve. As that, it does its job well, with humor and surprising grace. [18 Sep 1987, p.18]
    • Chicago Tribune
    • 37 Metascore
    • 50 Critic Score
    Side Out
    There are few sports the movies haven't tackled. Side Out (1991) found one: volleyball. Thirtysomething star Peter Horton brings his shaggy dog sincerity to his role as Zack, the former king of the beach who gets a chance at redemption when he becomes mentor to C. Thomas Howell. [17 Sep 1991, p.3C]
    • Chicago Tribune
  17. Only God Forgives
    This is the worst, least, dumbest picture made by people of talent this year.
  18. The Country Bears
    Unfortunately, the humans only have scripts to support them. So for every bear triumph, Country Bears also features cliched jokes, corny sentiment, ludicrous shtick and the most flabbergasting set of star cameos since Martha Stewart and Michael Jackson wandered into "Men in Black II."
  19. Firewalker
    When Gosnell's script does wander into some emotionally complex territory--in the depths of the jungle, Max encounters an old army buddy from Vietnam (John Rhys-Davies)--Thompson does rouse himself momentarily to provide some sequences of unexpected sensitivity, but he quickly returns to his dull, professional indifference. [21 Nov 1986, p.L]
    • Chicago Tribune
  20. The Cloverfield Paradox
    The Cloverfield Paradox is “Lost” in space — a faint, well-acted blip on the radar of your viewing life.
  21. The Story of Us
    Disturbingly lightweight and emotionally risk-free.
  22. Crush
    A surprising and delightful romantic take on modern women.
  23. You Got Served
    When a movie keeps repeating its title, you know it's a stinker.
  24. The Possession of Hannah Grace
    But for all the pondering The Possession of Hannah Grace inspires, it’s also true that at 85 minutes, it still manages to feel tedious at times. The dour environment doesn’t help, the humor doesn’t pop, and disappointingly, the scares just don’t land.
  25. Speed Racer
    At its best, it's buoyant pop entertainment focused on three things: speed, racing and retina-splitting oceans of digitally captured color.
  26. W.E.
    Madonna stayed married to director Guy Ritchie just long enough to absorb his most grating cinematic instincts - shooting in every style, in an addled, shuffle-mode, falsely glamorizing way until all is chaos. And, astonishingly, boredom.
  27. Moving
    It's a wholly passive performance, and one that touches not at all on Pryor's special gifts. This man desperately needs a new agent.
  28. Seven Pounds
    Seven Pounds has a heart as big as all outdoors. Unfortunately it's made out of high-fructose bull.
  29. Three to Tango
    Television sitcom-style directing and writing.
  30. Steal This Movie
    Feels more like a music video than a serious look back at a time, a place and a very smart, funny and unconventional man.
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