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. Black Snake Moan strikes me as hogwash. It fundamentally does not work; its consciously far-fetched, out-there notions of the things damaged people do in the name of love are reductive and go only so far. It's as if the premise were tethered to a radiator or something.
  2. Calling a sequel Are We Done Yet? is like calling it "Enough Already."
  3. Written by Nick Moore, Ruckus Skye and Lane Skye, the script just doesn't give us enough material to care about the story, which is devoid of subtext and keeps everything on the surface.
  4. The Producers on screen, as a musical, does not work. It is not very funny. It doesn't look right. It's depressing.
  5. Writer-director Thom Fitzgerald's ambitious but hopelessly inchoate AIDS drama is actually three separate, sequentially-told stories.
  6. A well-intentioned, ill-conceived blip of a movie that just happens to star two of the most esteemed actors of our time--Michael Caine and Christopher Walken.
  7. Our Flick of the Week is Brian De Palma's disastrous film of Tom Wolfe's seminal '80s novel, The Bonfire of the Vanities. And the biggest mystery of many surrounding this production is why anyone of De Palma's intelligence would want to take a great book - a truly great book - of wit and bile and soften it into platitudinous pablum? [21 Dec 1990, p.C]
    • Chicago Tribune
  8. The atmosphere in Serenity, by design, imparts a slightly uneasy and hermetic feeling. In Baker Dill, who sounds like a line of gourmet pickles, Knight has the makings of a compellingly messed-up antihero. That’s a start. If movies were all start, then this one might’ve worked.
  9. While this production certainly ranks above Van Damme's prior efforts, it's still full of the sort of macho overkill typical of today's action genre. [09 Aug 1991, p.B]
    • Chicago Tribune
  10. Maybe if Mindel had focused more on his characters, less on the silly "noir" trickery, his film would do Garity justice. As it is, go find better work, kid.
    • 32 Metascore
    • 38 Critic Score
    It is scattered, weightless, impossible to get hold of, and somehow, after seven years and more than 10 hours of screen time, I could not tell you what these films are about.
  11. Watching this movie is like spending two hours and 27 minutes staring at a gigantic aquarium full of digital sea creatures and actors on wires, pretending to swim.
  12. Despite original touches, Cut Sleeve Boys is mostly a mediocre gay-themed movie plagued by tired humor and slapdash filmmaking.
  13. Not only is [Penn's] film overlong and overwrought, it suffers from a pacing that is so deliberate it is positively sluggish. [04 Oct 1991, p.K]
    • Chicago Tribune
  14. Despite a few interesting moments, Iron Eagle looks and sounds like an extended televison commercial that encourages young people to be all they can be . . . in a supersonic fighting machine. [20 Jan 1986, p.3C]
    • Chicago Tribune
  15. Perhaps if you are a Sega-head or Nintendo freak, and your mission in life is to rack up awesome scores on Double Dragon, you may find this loud and tedious movie more enjoyable than I did. But I doubt it. [04 Nov 1994, p.M]
    • Chicago Tribune
  16. The film is a rogue hunk of hooey.
    • 54 Metascore
    • 38 Critic Score
    The TV episodes invariably embed a character or a bit of dialogue in your brain that you continuously describe or repeat to your friends. No such find in the movie, though the offbeat soundtrack is very gettable.
  17. The film has one objective: to smack its audience in the face with fleeting, competing wows, over and over.
  18. A mostly bland, sporadically crude, by-the-numbers romantic comedy about two gay men in love.
  19. Compared to so many varied and skillful female-driven hits such as "Bridesmaids," or this summer's "Trainwreck" and "Spy," Sisters isn't worth talking about.
  20. (Kids) are likely to reject Grizzly Falls as though it were a piece of chewed-over bear fat.
    • Chicago Tribune
  21. There's almost no reason to see the movie, unless you have no qualms about wasting your time.
  22. This is a generic action picture. What also is missing are scenes in which Nolte and Murphy could relate to each other quietly and with some wit. [8 Jun 1990, p.C]
    • Chicago Tribune
    • 24 Metascore
    • 38 Critic Score
    While director Eric Valette provides the occasional chill, the disturbing spooks aren't enough to make this boat float. Burns sleepwalks through One Missed Call totally devoid of charisma, and Sossamon muddles along, going through the motions.
  23. When a movie keeps repeating its title, you know it's a stinker.
  24. We're reminded of Police Academy because this is another story about outcasts and rejects banding together to beat the odds in a macho profession. And we're reminded of The Sting because that's how we feel after the movie is over. Stung.
  25. While the actresses seem authentic in these interviews, they are forced and unconvincing in Jaglom's script, which centers on characters who might kindly be described as narcissistic Harpies. [21 Jun 1991, p.G]
    • Chicago Tribune
  26. Like all B-movies (or in this case, pseudo B-movies), "Skeleton" contains sparkling moments of promise and camp performance.
  27. The real trouble with Psycho III is that it's one sequel too many. Norman and his Gothic manse have already been drained of creative resources. [03 July 1986, p.A]
    • Chicago Tribune

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