Chicago Tribune's Scores

For 4,399 reviews, this publication has graded:
  • 64% higher than the average critic
  • 2% same as the average critic
  • 34% lower than the average critic
On average, this publication grades 3.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Brooklyn Castle
Lowest review score: 0 Chaos
Score distribution:
4,399 movie reviews
    • 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.
  1. A movie as unsubtle as its title suggests, Fear is too seriously intended to work as trash and too ungainly and ugly to register as entertainment. [15 Apr 1996]
    • 50 Metascore
    • 38 Critic Score
    If an erotic portrayal of John and Elizabeth's sexual inclinations was all director Adrian Lyne had wanted to accomplish, he might have succeeded. But he was not satisfied with that. [21 Feb 1986, p.A]
  2. The direction is on auto-drive, the dialogue lacks wit and the story logic is non-existent. [03 Nov 1995]
  3. A clammy little number that might've been funded by the Department of Homeland Security.
  4. Most of the ingredients for a strong, tough film are there, and they have been sadly botched by a few key collaborators.
  5. Falling Down is an intellectually sloppy, rebellious working-man adventure film that is little more than a set piece for Michael Douglas playing out a revenge-of-the-nerds fantasy. [26 Feb 1993, p.C]
    • 36 Metascore
    • 38 Critic Score
    They once again trot out the same cynical, numbing formula: bullets, bonding and bravado tempered with self-congratulatory humor.
  6. 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]
  7. The line between cool and cold is a thin one, however. Cool isn't the word for "Thirteen"; it's just smug.
  8. The Nome King looks like a moveable Mt. St. Helens and he alone is magical. In fact, he blows Dorothy and her tacky-looking friends off the screen. So we end up liking the Nome King and hating Dorothy and her crowd, which I doubt was the intention of the L. Frank Baum series. [21 Jun 1985, p.1]
  9. The Favor is a sex comedy without sex-and pretty much without comedy. [29 Apr 1994]
  10. Carell's pal and "Daily Show" colleague Jon Stewart has a cameo as himself, one of a chorus of godless media star non-believers who do not see God's larger plan for Evan. Yes, well. At least "The Daily Show" is funny.
  11. Williams' grimace is starting to look desperate. Then again, no one comes off well in director Ken Kwapis' handling of this greasy screenplay.
  12. The film suggests Lohan probably (allegedly) should've gone after her agent the other night, not the mother of an ex-personal assistant.
    • 50 Metascore
    • 38 Critic Score
    The Ten changes tone every few minutes, ranging from lowbrow gross-out gags to elevated language to a big, sloppy musical number.
    • 45 Metascore
    • 38 Critic Score
    Despite original touches, Cut Sleeve Boys is mostly a mediocre gay-themed movie plagued by tired humor and slapdash filmmaking.
    • 63 Metascore
    • 38 Critic Score
    The Signal combines the inconstancy of an omnibus film with the blandness of art by committee. The end result feels less like a blend of distinct styles than an opportunistic hodgepodge, a second-hand premise wedded to an attention-grabbing gimmick.
  13. It's all very "Scarface"--the De Palma remake of "Scarface," not the Hawks original. In other words, it doesn't feel modern at all. It feels about a generation late and 400 years short.
    • 45 Metascore
    • 38 Critic Score
    This self-important movie can't save itself from being disheartening.
    • 40 Metascore
    • 38 Critic Score
    Illegal Tender echoes "A History of Violence," another gritty film that explores escaping a criminal past. But the vast vapidity behind Illegal Tender's ill-conceived story line is far harder to overcome.
  14. Freshman Orientation is not incompetently made. Nor is it badly acted. But there’s not a fresh idea in it, and everyone on screen seems to be in a different comedy.
  15. Lapica isn't yet enough of a writer or director (or an actor) to make the dramatic arc unpredictable in any way. It may be effective for some as therapy. It is far less so as cinematic storytelling.
    • 39 Metascore
    • 38 Critic Score
    As a pocket history of the battles over Jerusalem in the ’40s, O Jerusalem is serviceable enough. But all the melodrama cheapens the real drama, and turns a war-torn region into a soap-opera stage.
  16. I find Lars and the Real Girl adorable in the worst way, bailed out only by most every member of its excellent cast.
  17. All you want from a movie like this, really, is a little brainless fun, and it keeps holding out on you. Everyone looks fatigued. Even Cage’s toupee seems ambivalent about having signed on for a sequel.
    • 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.
  18. Diane Keaton--now there’s a trouper for you. She will not be caught giving less than 110 percent, even in a drab little heist comedy.
  19. CJ7
    CJ7 is roughly as grating as that “Flubber” remake.
  20. The latest, Untraceable, owes everything to “Lambs,” and to “Se7en,” and to all the “Lambs” and “Se7en” knockoffs made by directors less talented than Jonathan Demme and David Fincher. In addition to being dull, the Portland, Ore. -set Untraceable is a monster hypocrite, wagging its finger at the mass audience’s appetite for strictly regimented, “creative” torture scenarios.

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