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. Semi-Pro
    The court scenes are rarely funny, either in the trash talk or the slapstick.
  2. Terminator Genisys
    Everything's at stake yet nothing comes to much in Terminator Genisys.
  3. Journey 2: The Mysterious Island
    Hutcherson spits his lines out as quickly as possible, which you appreciate, because the way the likable Johnson wrestles with his lines ("It looks like the liquefaction has tripled overnight!") you think, well, it's a living.
  4. Getaway
    Terrible but, in its squealing way, sporadically fun-terrible.
    • 45 Metascore
    • 38 Critic Score
    The Hottest State
    This self-important movie can't save itself from being disheartening.
  6. Die, Mommie, Die!
    It's a screen adaptation of Busch's stage play of the same name, which never really went anywhere after its 1999 Los Angeles debut -- and doesn't go anywhere here.
  7. The Wedding Planner
    Stumbles from cliche to cliche:
  8. Slender Man
    Birke's script is plainly straightforward, a simple supernatural chase story. It doesn't plumb the depths of what might make Slender Man scary, so Slender Man isn't scary at all.
  9. Highlander
    About halfway through the violent, fantasy adventure Highlander, one character talks about how it was the custom during ancient times to throw babies into a pit of hungry dogs. Well, there were more than a few times during this hyperviolent film in which I felt as if I were a baby being thrown to a dog of a movie.
  10. End of the Spear
    A childish and visually repetitive movie, ham-fisted, proselytizing and overtly simplified.
  11. I Know Who Killed Me
    The film suggests Lohan probably (allegedly) should've gone after her agent the other night, not the mother of an ex-personal assistant.
  12. 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.
  13. Cocaine Bear
    Ultraviolence is a funny thing, unless it’s not: Here, watching Martindale’s ranger character getting her face ripped off while being dragged along a gravel road isn’t a sight gag, and it isn’t an effective shock bit. It’s just sour. Composer Mark Mothersbaugh’s consciously ‘80s-vibe score has more personality than what’s on screen.
  14. X-Men
    Superhero comic book movie with a script so feeble it might have been written with crayons.
  15. I Spy
    An overblown clunker full of bad jokes, howling cliches and by-the-numbers action sequences.
  16. The Bubble
    No one seems particularly good at their jobs, but that’s beside the point. They’re silly and self-absorbed — mildly obnoxious more than anything — but rarely is their desperation funny.
  17. Civic Duty
    A clammy little number that might've been funded by the Department of Homeland Security.
  18. Black or White
    Black or White may not be racist, exactly, but it patronizes its African-American characters up, down and sideways, and audiences of every ethnicity, background, hue and predilection can find something to dislike.
  19. White Noise
    In White Noise, Hollywood and Michael Keaton try to make a decent thriller out of ghosts in the machine but come up with lousy reception and static.
  20. She-Devil
    This has to be one of the greatest casting coups and consequently blown opportunities of recent years...Streep isn't that funny in what is a frivolous role, and Barr is only mildly successful in her angry moments. [8 Dec 1989, p.A]
    • Chicago Tribune
  21. Heart of Stone
    To become a true screen action hero outside the “Wonder Woman” realm, Gadot needs better material than this, and only when she gets to square off with Bhatt’s increasingly conflicted superhacker does Heart of Stone suggest a human pulse.
  22. Gimme Shelter
    Gimme Shelter suffers from an acute case of the fakes. The speeches sound like speeches, and not good ones.
  23. Self Medicated
    Lapica isn't yet enough of a writer or director (or an actor) to make the dramatic arc unpredictable in any way. It may be effective for some as therapy. It is far less so as cinematic storytelling.
  24. Ella McCay
    It never feels like Brooks has a grasp on the material here, which careens aimlessly through Ella’s harried day-to-day, in a handsomely bland, serviceable style.
  25. America: Freedom to Fascism
    Aaron Russo's America: Freedom to Fascism can't even think straight, it's so mad.
  26. Nine 1/2 Weeks
    If an erotic portrayal of John and Elizabeth's sexual inclinations was all director Adrian Lyne had wanted to accomplish, he might have succeeded. But he was not satisfied with that. [21 Feb 1986, p.A]
    • Chicago Tribune
  27. The Rage: Carrie 2
    The sequel is about nothing more profound than an awkward teenager's desire for a really cute boyfriend. [12 March 1999, Friday, p.N]
    • Chicago Tribune
  28. Mountainhead
    Mountainhead is a talky movie and I tend to like talky movies. But at some point in the nearly two-hour running time, it just becomes boring.
  29. The Foot Fist Way
    Staggers and wanders and feels far longer than its 85 minutes, and it's best considered a calling card for better things to come.
  30. Agent Cody Banks 2: Destination London
    It's a movie, and certain liberties are bound to be taken, but having Derek stop a moped-driving Brit on the street by pulling out some sort of identification and yelling, "CIA, I need your moped!" is not the way.
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