Chicago Tribune's Scores

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:
7601 movie reviews
  1. It feels like any new ideas were jettisoned for the same old schtick. "Zombieland" may have helped to give birth to the zomb-aissance, but "Double Tap" just might be the kill shot.
  2. A good-natured but trivial Manhattan romantic comedy.
  3. This is a franchise with lead weights tied around its ankles.
  4. One hopes that this is Hollywood's last go-round with Swept Away. Watching this fiasco, I kept having nightmares about a possible cartoon version, co-starring Cruella de Vil and Shrek.
  5. After the insufferably dense mermaid mythology of "Lady in the Water," Shyamalan clearly wanted to keep things simple. He whizzed straight past "simple" to simplistic.
  6. Seven Pounds has a heart as big as all outdoors. Unfortunately it's made out of high-fructose bull.
  7. In making a movie that preaches love for odd ducks, Schumacher has turned Flawless into the oddest duck of all.
    • Chicago Tribune
  8. As directed by Robert Mulligan, the stately pace here feels sluggish and the music is no elegiac Pachelbel's "Canon" but a medley of dreadful cocktail lounge piano and swooning strings. [21 Oct 1988, p.G]
    • Chicago Tribune
  9. This is one of those would-be blockbusters that wants to have it both ways: It includes enough political commentary to have pretensions of seriousness, yet it's engineered to satisfy the explosion cravings of Schwarzenegger action fans, if any are left.
    • 36 Metascore
    • 38 Critic Score
    Horror movies don't have to make sense in the real world, but when you have to help their internal logic along this much, it's pretty much a cue for heckling -- or checking your watch.
  10. The most excellent and lamentable tragedy Romeo and Juliet has been turned into a film that is lamentable without the "excellent" part.
  11. Not even Smith's charisma can mitigate the chaos that is Hancock.
  12. Freshman Orientation is not incompetently made. Nor is it badly acted. But there’s not a fresh idea in it, and everyone on screen seems to be in a different comedy.
  13. Director Zalman King has literally created a bad B-movie here, photographing breasts, buttocks and bubbleheads. The film is erotic until its first coupling; that's when we realize these dullard characters might as well be mannequins. Two Moon Junction deserves a genre all its own: very soft-core porn. [6 May 1988, p.A]
    • Chicago Tribune
  14. The revenge in Oldboy is neither sweet nor sour; it's just drab.
    • 35 Metascore
    • 38 Critic Score
    If you are at all squeamish about incest and/or prefer sex scenes without violent undertones, you should avoid this movie.
  15. There's really just not a lot here. I'm sure Racer's story will entertain the very wee ones -- but so do keys.
  16. When Jason Sudeikis and Ed Helms appear in the same movie there's a significant threat of clean-cut sameness. Mediocre material makes them like two halves of the same comic actor: Ed Jason Helms-Sudeikis.
    • 33 Metascore
    • 38 Critic Score
    The worst part of the night isn't the Aqua Net hair or the sweaty '80s dancing. Murder is the theme of the evening.
    • Chicago Tribune
  17. Schreiber and Stiles are good actors, and they're actually acting, if not to any actual avail. In the silliest recasting, a comically exaggerated Mia Farrow takes over for steely Billie Whitelaw in the evil nanny role.
  18. Dempsey's pleasant enough, but he hasn't yet learned how to play against a mediocre script's obviousness. Monaghan has, which is gratifying.
  19. A coming-of-ager that nearly slaughters you by minute 30 with the relentlessness of its protagonist's voiceovers.
  20. If a movie doesn’t care enough about its selling points, aka the stars, to give them decent lines more than twice per hour, the “bad” in “Bad Boys” ends up being the wrong kind of bad. And, in a truly sad way, its own review.
  21. I guess there's something progressive going on when a lesbian love story gets to be just as dreadful and tacky as most straight ones.
  22. Calling Dredd 3D a movie is sort of a lie. It's a premise, and there are levels to reach, and always there's another grimy hallway to stalk, and then you turn right or left, and then kill some more.
  23. Knock at the Cabin is a real load — 100 lugubrious minutes of what is intended as steadily mounting dread and apocalypse prevention seminar.
  24. Levinson has written and directed in many genres. But rarely has he made a film as indecisive and diffident as Man of the Year.
  25. Stiller, a DodgeBall producer, is revealing an unfortunate craving for the cheese of his childhood.
  26. A truly stupid film based on what should have been a surefire hit - a cross-country car race. Too many stars spoil the action, including Burt Reynolds, Dean Martin, and Sammy Davis Jr. [19 June 1981, p.2-8]
    • Chicago Tribune
  27. With such a bang-up cast, this setup could at least elicit some tears, but in its 107 minutes, nary a one welled up in my eyes.

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