Chicago Tribune's Scores

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For 7,599 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 1.5 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: 5,104 out of 7599
  2. Mixed: 1,473 out of 7599
  3. Negative: 1,022 out of 7599
7599 movie reviews
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  1. Consenting Adults
    As a film, "Consenting Adults" has little to distinguish itself from the other entries in the genre, apart from an entertainingly hammy performance from Spacey and the clever production design of Carol Spier, with its emphasis on bold color effects (the interior of the Otis house is painted an infernal red) and complicated architectural spaces. But this, of course, is the kind of filmmaking that defines success by its adherence to the norm, not in dangerous departures from it. [16 Oct 1992, p.C]
    • Chicago Tribune
  2. A River Runs Through It
    A River Runs Through It emerges as hopelessly middle-brow-the kind of diluted, prettified art traditionally associated with PBS and the Academy Awards. [09 Oct 1992]
    • Chicago Tribune
  3. Under Siege
    For its first hour is as exciting an action picture as the Die Hard films. The tension and humor level tail off a bit toward the conclusion, but Steven Seagal and Chicago director Andy Davis clearly declare themselves as top-flight talent.
  4. 1492: Conquest of Paradise
    Given the current political climate, it's hard to see how any film about Christopher Columbus could make everybody happy, and indeed, Ridley Scott's 1492: Conquest of Paradise seems unlikely to leave too many ticket buyers smiling.
  5. The Mighty Ducks
    An okay kids' picture about a bunch of misfit hockey players who are brought together to play in the Big Game by a cynical, Yuppie coach (Emilio Estevez) doing community service. [02 Oct 1992, p.C]
    • Chicago Tribune
  6. Of Mice and Men
    But the biggest surprise is that Sinise steals scene after scene from Malkovich who has the flashier role. His work also has a quiet power, a tribute to the minimalist acting style that knows the camera can function as an X-ray if the characterization is true. [2 Oct 1992, p.C]
    • Chicago Tribune
  7. Hero
    Davis and Garcia are both fine, and Hoffman gives an entertaining performance that still smells a little much of acting. But it's in the supporting roles that Frears makes his taste and talent felt, guiding such performers as Kevin J. O'Connor, Tom Arnold and Cady Huffman to quick, quietly efficient characterizations. [02 Oct 1992, p.B]
    • Chicago Tribune
  8. Reservoir Dogs
    Tarantino's debut directing job acknowledges the sloppiness and silences that are typically squeezed out of most crime films, but we get the point early on and the remainder is macho posturing. [23 Oct 1992]
    • Chicago Tribune
  9. Glengarry Glen Ross
    It's a well written, well staged and well acted piece, though there is something musty in its aesthetic - that of the huge, bellowing method performance, plastered over a flimsy, one-set world. [02 Oct 1992, p.A]
    • Chicago Tribune
  10. The Last of the Mohicans
    Never mind the gorgeous wilderness backdrop, the 18th-Century details, the carefully voiced and subtitled American Indian dialogue. From its very first frame until seconds before closing credits, "Mohicans" is an action movie. [25 Sep 1992]
    • Chicago Tribune
  11. Innocent Blood
    An awful vampire comedy from John Landis ("Animal House," "The Blues Brothers") that is enlivened only by the eroticism of French actress Anne Parillaud ("La Femme Nikita") who is willing to disrobe for her first Hollywood film and major payday. She plays a vampire who feasts on Italian mobsters in Pittsburgh, falling in love with Anthony LaPaglia along the way. The neck-biting and gunplay are gross. Don Rickles is a sore thumb as a mob attorney. [25 Sept 1992, p.C]
    • Chicago Tribune
  12. School Ties
    Nobly intended and about half baked, School Ties is a slightly glorified ``Afterschool Special`` that might function as an introduction to the evils of anti-Semitism for sheltered teens.
  13. South Central
    South Central treats its violent, often melodramatic storyline with a spareness and deliberation that lends the material an unexpected, quiet power. [18 Sep 1992, p.F]
    • Chicago Tribune
  14. Singles
    There is something new here, and very fresh.
  15. Husbands and Wives
    Australian Judy Davis, one of our finest actresses, gives a brilliant comic performance as a bitter spurned woman venting her spleen on a hapless blind date. Sydney Pollack proves surprisingly effective in a brutal scene where he abuses a bimbo. Husbands and Wives dosen't break new ground in arguing that not breaking up is hard to do; it simply raises the debate with a mix of fine writing and tragic real-life parallels. [18 Sept 1992, p.C]
    • Chicago Tribune
  16. Wind
    Wind is a vigorous and colorful piece of filmmaking that never quite shakes free of an embarrassingly trite, formulaic screenplay. [11 Sep 1992, p.H]
    • Chicago Tribune
  17. Hellraiser III: Hell on Earth
    This movie has more parable than paranoia, more metaphor than roar and gore. [16 Sep 1992, p.3C]
    • Chicago Tribune
  18. Where the Day Takes You
    All of the kids have wonderful skin, unblemished by the slightest pimple and never coarsened by the California sun. As sordid as the material may be, Rocco can't help but prettify it. [11 Sep 1992, p.C]
    • Chicago Tribune
  19. Brother's Keeper
    Aided by a splendid, understated score, by Jay Ungar and Molly Mason, Brother's Keeper captures the story of how Munnsville saved Delbert from the slammer with probity and elegance. It also slyly suggests how the experience, even the presence of the documentary camera, socialized Delbert and his brothers. [26 Mar 1993, p.C2]
    • Chicago Tribune
  20. Bob Roberts
    Like a relentlessly charismatic political candidate offering the moon, stars and a viable health-care plan, Bob Roberts promises much but ultimately fails to deliver.
  21. Twin Peaks: Fire Walk with Me
    The details of this Twin Peaks are slight and repetitious, and their meanings are numbingly obvious. Behind small town America's facade of sweetness and light, there exist darkness and evil-news that is a day late and about $7.50 short. [28 Aug 1992]
    • Chicago Tribune
  22. Honeymoon in Vegas
    A sometimes very funny comedy. [28 Aug 1992, p.C]
    • Chicago Tribune
    • 78 Metascore
    • 75 Critic Score
    A Brief History of Time
    Slickly executed and dramatically engaging.
  24. The Living End
    The Living End is not a movie even vaguely interested in attracting a wide public. It's a movie meant to please its own niche audience, and at that it seems likely to succeed.
  25. Single White Female
    Schroeder brings a decidedly un-Hollywood approach to the material, which is both the source of the film's greatest aesthetic strength (it is unusually attentive to questions of character and form) and most crippling commercial weakness. American audiences, used to nonstop action, will probably grow impatient with Schroeder's slow, nuanced approach.
  26. Stay Tuned
    Wretchedly unfunny. [14 Aug 1992, p.18]
    • Chicago Tribune
  27. Unforgiven
    Individual scenes work, but the movie seems overstuffed-why is the Harris character necessary-and halting.
  28. 3 Ninjas
    A miserable ripoff of The Karate Kid with three whitebread young-uns taking lessons from their Chinese grandfather on how to be upright and horizontal ninja warriors. They get their kicks trying to knock off a Steven Seagal imitation who is running drugs.
  29. Raising Cain
    Following on the abject failure of Bonfire of the Vanities, director De Palma seems to have seriously lost his way. [14 Aug 1992, p.C]
    • Chicago Tribune
  30. Buffy the Vampire Slayer
    Kuzui has imposed a heavily block-lettered feminist message on the movie, suggesting that Buffy discovers her empowerment as a woman by driving huge, phallic stakes through the hearts of her enemies. In this case, having it all means being feminine and bloodthirsty, too. [31 Jul 1992, p.B]
    • Chicago Tribune
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