Chicago Tribune's Scores

For 7,613 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:
7613 movie reviews
  1. It makes you sweat, laugh, squirm and self explore like few films -- fictional or documentary -- can.
  2. Jason X conjures up more giggles than scares, assuming you make it through the first 15 minutes.
  3. Sacrificing content for style, Caruso gives us a lot to look at but little to ponder.
  4. The film manages to crack all its codes, and even when it sags a bit, it's never lacking grace and some wit. Not enigmatically at all, it pleases and teases us -- in high style.
  5. Aims for a sadness and desperation that is crudely announced rather than subtly demonstrated.
  6. A dumb movie, but it's also a knowing one: a cheap castle of lewd trivia and corny excitement built on The Rock.
  7. The outline of Murder by Numbers may be familiar, but the filmmakers and Bullock do an expert job of filling in the colors.
  8. Two suggestions as you watch it: Never take anything for granted, and keep your hand on your wallet as you leave the theater.
  9. Lucidity, austerity and quiet compassion are peculiar virtues to ascribe to a movie about a horrific real-life murder case, but those are among the best qualities of Jean-Pierre Denis' Murderous Maids.
  10. The film's greatest moments take place in space. There, words are unnecessary, the images transfixing.
  11. Despite its shortcomings, Girls Can't Swim represents an engaging and intimate first feature by a talented director to watch, and it's a worthy entry in the French coming-of-age genre.
  12. Predictable and dull.
  13. The artifice may be ancient, but the thought and emotions -- and especially Sorvino -- are beautifully, refreshingly modern.
  14. Tries for both civilized wit and primitive joy -- and mostly misses both.
  15. There's nothing more uplifting than a documentary that celebrates a man's capacity to dream, and nothing more depressing than one that mocks those dreams. Stephen Earnhart's Mule Skinner Blues walks the razor's edge between these approaches.
  16. A thrilling ride but also a thoughtful one, it's a movie that does manage to do more good than bad by the end of the day.
  17. Most of Frailty is so good -- done in a low-key, realistic mood of genuine creepiness and dread -- that it doesn't need formula shocks.
  18. The movie leaves us with the image of rich folks frantically dancing the Charleston because if they stop, they'll have nothing. The point is as untrue as it is simplistic.
  19. Lacks the meanness of so many recent gross-out comedies. With the sparkling Diaz leading the way, the lame humor is much more palatable.
  20. Captures a breathtaking exotic landscape cluttered only by the smugness of its characters.
    • 57 Metascore
    • 50 Critic Score
    What began as a sketch movie ended up like a slightly better than average "SNL" flick, though Odenkirk, Cross and a number of famous and semi-famous friends do get some chuckles out of their story of Ronnie Dobbs, compulsive troublemaker. [16 Sep 2003, p.C3]
    • Chicago Tribune
  21. It's still a disappointment: a well-mounted and well-acted suspense movie that, thanks to its illogical script, falls off a cliff midway through.
  22. There are no surprises in this movie -- not even in the Bollywood parodies, when the hero and heroine finally, subversively kiss. There is talent, though.
  23. An unabashedly bad movie full of cliches, claptrap, fairly good rock 'n' roll and stomach-turning gross-out gags.
  24. The movie moves predictably to its feel-good finale.
  25. Able to provide insight into a fascinating part of theater history, spanning from Russia to the New York Catskills.
  26. Sonnenfeld mishandles the broad part of the comedic formula, preferring repetition to thematic development.
  27. A surprising and delightful romantic take on modern women.
  28. The Rookie may be pushing buttons, but at least they're the right buttons.
  29. You will not forget The Piano Teacher. Nor will you forget Isabelle Huppert, a brave, brilliant actress who here plays her masterpiece.

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