Chicago Tribune's Scores

For 4,526 reviews, this publication has graded:
  • 63% higher than the average critic
  • 2% same as the average critic
  • 35% 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 Rififi (re-release)
Lowest review score: 0 Pee-wee's Big Adventure
Score distribution:
4,526 movie reviews
    • 36 Metascore
    • 38 Critic Score
    Director Paul McGuigan ("Lucky Number Slevin") has never been keen on plot logic, and that might be fine here if he offered anything other than Peter Sova's lush images of Hong Kong.
  1. Some film premises are so outlandish, so thinly worked out and so deep-down ridiculous that they wind up sinking the show -- and White Chicks collapses under a real doozy.
  2. Even as slapstick, it's a major snoozefest.
  3. This movie is just not cool or hip or in any way extreme. Sitting through Grind is a real grind.
  4. Sweet-tempered but superficial.
  5. What we have here is a much less radical movie than writer Hughes probably believes he has created. Yes, he's given us an individualistic girl, but she swoons like a robot after the first reasonably human WASP or WASC asks her for a date. [2 Feb 1986]
    • Chicago Tribune
  6. A gaudy yet grim science-fiction horror movie of such surpassing silliness, humorless intensity and stylistic overkill that watching it may actually put you in a state of paranoia.
  7. The tragedy is that the performance comes to nothing. Nearly everything else in the film is vile.
  8. Though The Kid & I falters as both a comedy and an After School Special, it works as a rather touching episode of "This is Your Life," with a parade of cameos from Arnold's career that'll coax a sniffle or two from his family.
  9. A poor man's "When Harry Met Sally."
  10. The actors had little to work with in this passe social satire, but sharper performances might have saved Marci from total humorless ruin.
  11. Nobody watches a disaster movie starring digital tornadoes expecting Oscar Wilde. But Into the Storm, directed with bland efficiency by Steven Quayle of "Final Destination 5," reminds us that unless a movie establishes certain base-line levels of human interest, it runs the not-unentertaining risk of coming out squarely in favor of its own bad weather.
  12. Anytime Jaa isn't on screen, The Protector sputters.
  13. Line to line, Stallone has a particularly numbing penchant for the f-word. But the key f-word in Homefront is "familiar."
  14. The crass sentimentality of American Wedding increasingly fits Norman Mailer's definition: "the emotional promiscuity of the basically unemotional." The jokes are unemotional, uncouth and mostly unfunny.
    • 55 Metascore
    • 38 Critic Score
    Degenerates into a slow-moving game of connect-the-gross-outs.
  15. Isn't much more creative than your average gross-out comedy.
    • Chicago Tribune
  16. That it is a pseudo-hip filmmaking fantasy doesn't make it any less pretentious, or any less a turnoff.
    • Chicago Tribune
  17. I found it bizarre and limp and all over the place and not in a good, messy, lifelike way.
  18. An exhaustingly pushy, phallocentric and witlessly smutty spoof of early '80s medieval fantasies such as "Krull" and "The Beastmaster."
  19. Scott treats the material as if it were grist for a 30-second spot or a rowdy music video.
  20. If the writers had the guts (and the jokes) to fashion a bittersweet comedy with a fully earned happy ending, Unaccompanied Minors probably wouldn't have been made. As is, it's a prefab slapstick-'n'-pathos stew that doesn't taste like anything.
  21. A dull, amateurish mixture of the sentimental and the obvious.
  22. Felitta and Reiser mean nothing but well with this project, but too many lines sound fraudulent, and Reiser, it must be said, is a hopeless ham in the reaction shot department.
    • 27 Metascore
    • 38 Critic Score
    There is some directorial skill here--Argento should be congratulated for a few interesting storytelling choices--but the end result feels grimy and strangely pathetic.
  23. Numbingly gory when it isn’t just plain numbing.
  24. We have to take the sexual tension on faith, as with everything in this formulaic glob of a script.
  25. The idea may sound like fun, but the movie isn't. It's a travesty of a picture that's a disgrace to the memory of the great film from which it's remade. [5 February 1999, Friday, po.A]
    • Chicago Tribune
  26. Hanna presents the problem of the well-made diversion that is, at its core, repellent.
  27. Not funny because it's not true.

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