Chicago Tribune's Scores

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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:
  1. Positive: 5,116 out of 7613
  2. Mixed: 1,475 out of 7613
  3. Negative: 1,022 out of 7613
7613 movie reviews
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  1. Enemy of the State
    To say Enemy of the State is senseless is an understatement. This is a movie where logic is the enemy.
  2. Elizabeth
    The movie -- directed in such a frenziedly self-conscious style you often wonder whether the camera will topple over on his actors.
  3. The Siege
    It's one of those fast, slick, half-smart shows that can't decide whether to pay its debts to action or reality -- and winds up cheating both.
    • 74 Metascore
    • 75 Critic Score
    Gods and Monsters
    An engaging character study full of lyrical images and strong performances. It's an exceedingly well-made film.
    • 36 Metascore
    • 38 Critic Score
    Belly
    Despite its admonitory tone, Belly spends so much time caressing images of material wealth, female exploitation, drugs and murder that one has to worry about its effect on youngsters. But with its uneven storytelling and acting glitches, Belly's dubious moral stance may be the easiest part of the film to stomach. [04 Nov 1998, p.2]
    • Chicago Tribune
  6. American History X
    A shockingly powerful screed against racism that also manages to be so well performed and directed that it is entertaining as well. [30 October 1998, Friday, p.A]
    • Chicago Tribune
  7. Life Is Beautiful
    A deeply moving blend of cold terror and rapturous hilarity. Lovingly crafted by Italy's top comedian and most popular filmmaker, it's that rare comedy that takes on a daring and ambitious subject and proves worthy of it.
    • 71 Metascore
    • 63 Critic Score
    Pleasantville
    More clever than coherent.
  9. The Cruise
    Even if you have no interest in documentaries or the facade that is New York City, The Cruise transcends its artistic boundaries to becomes something strange and unique.
  10. The Last Days
    The Last Days, despite its great subject, is not quite a great non-fiction film. It's too reserved and careful in tone to reach the heights of Alain Resnais' Night and Fog or Claude Lanzmann's Shoah. [12 Feb 1999, p.I]
    • Chicago Tribune
  11. Happiness
    Sharp, funny, sad and daring as it may be, Happiness is missing something. Its points are often too obvious, its shocks too juvenile. It's impressive but not transcendent. [23 Oct 1998]
    • Chicago Tribune
  12. Bride of Chucky
    As directed by Ronny Yu, Bride of Chucky shows flashes of visual inspiration, and the script by Don Mancini is laced with tiny nuggets of humor. But overall, Chucky seems to be coming apart at the seams.
  13. Flowers of Shanghai
    A ravishing portrait of Shanghai brothel life in the late 19th Century, shot entirely in one-take scenes in luxuriant red-and-gold interior sets. [02 Oct 1998, p.J]
    • Chicago Tribune
  14. I Stand Alone
    Strange and unsettling as it is, Noe's clarity of vision makes his film ignite. Like a slammed door or a scream of anger, it slaps you awake.
  15. Clay Pigeons
    The movie seems so convinced of its own entertainment value that it has neglected to factor in the elements that make a comedic thriller more than just a facile exercise -- i.e., suspense, tension, heart. Being amused by plot turns is not the same as caring, and Clay Pigeons never inspires you to grab your armrest or catch your breath. [25 Sept 1998]
    • Chicago Tribune
  16. Rush Hour
    It's the kind of copycat movie that becomes original through its cast and treatment.
  17. Permanent Midnight
    The filmmakers' instincts may be sound, but Permanent Midnight is no killer. Stahl hated most of what he wrote in his TV heyday. So one really wonders why he, and maybe Stiller, didn't write this script. Surely, it's one script Stahl could have delivered.
  18. Rounders
    Lazy, predictable and even dumb about what happens away from the tables. [11 Sept 1998]
    • Chicago Tribune
  19. Blade
    Often ridiculous, mostly poorly written and, surprisingly poorly acted too. No matter how many flashy scenes the filmmakers shoot, the bad lines just keep dripping down. [21 Aug 1998]
    • Chicago Tribune
  20. The Eel
    Imamura, like many older directors, has evolved a style of wonderful simplicity, lucidity and economy, cutting to the marrow of events, switching moods with effortless ease. [11 Sep 1998, p.F]
    • Chicago Tribune
  21. The Avengers
    A smorgasbord of bad ideas, sumptuously over-realized.
  22. The Governess
    The film, despite some over-obvious stretches, is mostly sad, lovely, moving, haunting. It's a striking and promising debut from a fine new filmmaker. [21 Aug 1998]
    • Chicago Tribune
  23. The Parent Trap
    There's something too slickly contrived and hollow about this film. It's a yuppified wish-fulfillment piece dangling between real world and fairy tale, and it's mostly the actors --especially Lindsay and Elaine Hendrix (as the conniving publicist who is trying to marry Hallie and Annie's dad) -- who manage to bring it off. [29 July 1998]
    • Chicago Tribune
  24. Saving Private Ryan
    A watershed picture, for both Spielberg and war movies.
  25. The Mask of Zorro
    Spectacular, fast, never boring. But it's also one of the more disappointing movies I've seen recently.
  26. There's Something About Mary
    The day after seeing it, you're less likely to fixate on the flaws than to find yourself experiencing chuckle aftershocks as you recall the most outrageous gags. In these days of mostly forgettable comedies, that sensation has become all too rare. [15 July 1998]
    • Chicago Tribune
  27. Armageddon
    It looks like a TV ad, or 200 of them strung together, with the same kind of gaudy virtuosity, lavish technique and expensive self-mockery tinging every shot.
  28. Out of Sight
    It's a nice mix, an elegantly smoky and dangerous cocktail -- just like the old noirs, but in a more modern, shinier glass. And since the basic brew is Elmore Leonard's, it tickles as it goes down. [26 June 1998]
    • Chicago Tribune
  29. I Went Down
    It's not the plot--however enjoyable--that makes I Went Down so successful as a genre piece. Rather, it is the assortment of quirky and nicely-defined characters who crop up along the way, along with some of the sharpest screen dialogue you're likely to hear anytime soon. [1 July 1998, p.2]
    • Chicago Tribune
  30. Henry Fool
    Movies about literary lives don't always catch fire, but Henry Fool is a glorious exception: an austerely funny, brilliantly written and acted serio-comic tale of two writers. [17 Jul 1998]
    • Chicago Tribune
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