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. Hook
    Like the massive shipboard set that is its centerpiece, the film is huge and impressive - though, again like the captain's imposing vessel, it stubbornly and disappointingly remains at anchor. Hook never sets sail.
  2. Beauty and the Beast
    The beautiful title song, performed poignantly by the richly textured voice of Angela Lansbury, makes the case for all lovers to look past their partners' faults and into their hearts.
  3. The Addams Family
    The Addams Family doesn't deliver. After a while the ghoulish one-liners and macabre sight gags grow repetitive - the sadistic/masochistic interplay between Morticia and Gomez particularly grows weary - as too much of the humor comes off like unbridled Late Mel Brooks. [22 Nov 1991, p.B]
    • Chicago Tribune
  4. Kafka
    Steven Soderbergh's Kafka is a surprisingly cold, gray and flavorless follow-up to "sex, lies and videotape." [7 Feb. 1992]
    • Chicago Tribune
  5. Highlander II: The Quickening
    Mulcahy has toned down the fancy, self-conscious camerawork of the original, which he also directed, and pushes the story forward with enough flash and pop to divert viewers from the shaky premises. [01 Nov 1991, p.F]
    • Chicago Tribune
  6. Life Is Sweet
    An off-center, lighthearted but perceptive study of people following their dreams in the only way they know how, Life Is Sweet-the title is only somewhat ironic-is a warm and joyful piece, with the tossed-off hilarity smoothly giving way to poignance in its darker final segments.
  7. My Own Private Idaho
    Beautifully wrought, darkly funny and finally devastating, My Own Private Idaho almost single-handedly revives the notion of personal filmmaking in the United States. [18 Oct 1991]
    • Chicago Tribune
  8. Frankie and Johnny
    Frankie & Johnny manages to work as a sudsy romantic picture about big city loneliness despite an awkward performance by Al Pacino in the role of a hash-house dispenser of wisdom.
  9. Homicide
    Homicide isn't easy to take, but its vision is chillingly persuasive. [18 Oct 1991, p.B]
    • Chicago Tribune
  10. Dogfight
    The film, directed by Nancy Savoca (True Love) from a screenplay by Bob Comfort, is one of those sensitive dramas that defines its sensitivity by how brutally it can hammer the audience into feeling pity for its characters. [04 Oct 1991, p.L]
    • Chicago Tribune
  11. The Man in the Moon
    A film of fragile and esoteric pleasures, The Man in the Moon is not a movie that can be recommended to the general public and should probably even be protected from it. But for those who can respond to its tiny formal beauties, it is something to treasure. [04 Oct 1991, p.C]
    • Chicago Tribune
  12. Necessary Roughness
    Hector Elizondo and Robert Loggia are fine as the team's coaches. [27 Sept 1991, p.C2]
    • Chicago Tribune
  13. The Indian Runner
    Some of the Indian imagery in the film is arch, but the story, the acting and the tension level are of the highest order. [04 Oct 1991, p.C]
    • Chicago Tribune
    • 39 Metascore
    • 50 Critic Score
    Freddy's Dead: The Final Nightmare
    To sum it up, you should see this movie if you have a burning need to waste money to find out an obscure fact about a has-been villain committing an everyday crime - namely, taking that money you just wasted. [20 Sept 1991, p.K]
    • Chicago Tribune
  15. The Commitments
    It looks like director Parker, who can be quite ambitious (Mississippi Burning, Come See the Paradise), is coasting this time, merely reworking his big hit, Fame.
  16. Child's Play 3
    Jack Bender's direction, with the help of a driving score by Cory Lerios and John D'Andrea, manages to keep the level of suspense high even in the film's least convincing moments. [03 Sep 1991, p.5C]
    • Chicago Tribune
  17. Dead Again
    Emerges as cutty, indistinct and confused, full of shots that don't match and spatial conceptions that would look flat even on TV. The more Branagh strains to appear “cinematic,'' the more he looks like a man of the theater. [23 Aug 1991, Friday, p.B]
    • Chicago Tribune
  18. Harley Davidson and the Marlboro Man
    An offbeat, genial western parody that has some surprisingly effective low-key humor. [30 Aug 1991, p.C2]
    • Chicago Tribune
  19. Pure Luck
    Predictably impersonal and uninspired.
  20. Double Impact
    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
  21. Doc Hollywood
    Director Caton-Jones has given the film a few moments of charm and gentleness, though the movie would be a lot more beguiling if it weren't so sure of itself. Its charm has the practiced, impersonal touch of the professional salesman.
  22. Return to the Blue Lagoon
    Jovovich and Krause are as photogenic and blandly naive as their predecessors, and their ultimate commingling is, if anything, even tamer than in the original. Veteran television-movie director William A. Graham and screenwriter Leslie Stevens have fashioned a 98-minute tropical vacation ad. [02 Aug 1991, p.B]
    • Chicago Tribune
  23. Paris Is Burning
    A rough-edged, talking-heads documentary, directed with skill if not polish by Jennie Livingston, that has found a topic almost unbelievably rich in cultural paradoxes and interpretive possibilities. [09 Aug 1991, p.C]
    • Chicago Tribune
  24. Trust
    Trust seems ultimately a matter of touches-some cute, some surprising, some even fairly expressive, but none more than superficial. [16 Aug 1991]
    • Chicago Tribune
  25. Life Stinks
    But if Brooks doesn't get the sting of reality he's looking for in Life Stinks, he does succeed with the film's fantasy elements-most memorably, a dance sequence set to Cole Porter's Easy to Love and performed by Warren and Brooks in a colorful used-clothing warehouse.
  26. Archangel
    Archangel is a perfectly self-contained aesthetic object, maddening in its arbitrariness and opacity, yet wholly absorbing in its flurry of urgent yet incomprehensible significations.
  27. Boyz n the Hood
    Boys N the Hood wants to be “The Learning Tree'' and “Super Fly'' at once, an ambition that doesn't seem quite honest. [12 July 1991]
    • Chicago Tribune
  28. Point Break
    At her best—and even in a hand-me-down project like Point Break—Bigelow is a uniquely talented, uniquely powerful filmmaker. Where the male action directors are still playing with toys-with dolls and models and matte shots-Bigelow has tapped into something primal and strong. She is a sensualist of genius in this most sensual of mediums.
  29. Regarding Henry
    It is one of the conventions of movies that maladies of the brain make people more childlike, lovable and full of life, as in, most recently, "Rain Man" and "Awakenings." But Regarding Henry drops even the marginally realistic trappings of those films in favor of pure fantasy, a fantasy of starting over, of returning to the womb. [10 July 1991, p.C-1]
    • Chicago Tribune
  30. Slacker
    Linklater`s creation is delightfully daffy-far better, as one of the slackers puts it, than a sharp stick in the eye.
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