Chicago Tribune's Scores

For 4,516 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 Mystic River
Lowest review score: 0 UHF
Score distribution:
4,516 movie reviews
  1. The actors had little to work with in this passe social satire, but sharper performances might have saved Marci from total humorless ruin.
  2. 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.
  3. Anytime Jaa isn't on screen, The Protector sputters.
  4. Line to line, Stallone has a particularly numbing penchant for the f-word. But the key f-word in Homefront is "familiar."
  5. 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.
  6. Isn't much more creative than your average gross-out comedy.
    • Chicago Tribune
  7. That it is a pseudo-hip filmmaking fantasy doesn't make it any less pretentious, or any less a turnoff.
    • Chicago Tribune
  8. I found it bizarre and limp and all over the place and not in a good, messy, lifelike way.
  9. An exhaustingly pushy, phallocentric and witlessly smutty spoof of early '80s medieval fantasies such as "Krull" and "The Beastmaster."
  10. Scott treats the material as if it were grist for a 30-second spot or a rowdy music video.
  11. 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.
  12. A dull, amateurish mixture of the sentimental and the obvious.
  13. 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.
  14. Numbingly gory when it isn’t just plain numbing.
  15. We have to take the sexual tension on faith, as with everything in this formulaic glob of a script.
  16. 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
  17. Hanna presents the problem of the well-made diversion that is, at its core, repellent.
  18. Not funny because it's not true.
  19. This clunky remake can't rise from the ashes, nor would you want it to.
  20. The scenery's nice. But once you've said the scenery's nice, you're no longer talking about a movie worth talking about.
  21. Kollek's fondness for whimsical plot turns adds still more random elements to a movie that at times seems edited by a blindfolded monkey.
    • Chicago Tribune
  22. On the whole, I'd rather be on Pluto, which isn't even a planet.
  23. Davis, in particular, manages to create a fully dimensional character in the midst of a highly polemical screenplay.
  24. How is it possible that actors as expert as Close and Depardieu can wind up together in a mostly brainless big-budget stinker?
    • Chicago Tribune
  25. A good-natured but trivial Manhattan romantic comedy.
  26. One hopes that this is Hollywood's last go-round with Swept Away. Watching this fiasco, I kept having nightmares about a possible cartoon version, co-starring Cruella de Vil and Shrek.
  27. After the insufferably dense mermaid mythology of "Lady in the Water," Shyamalan clearly wanted to keep things simple. He whizzed straight past "simple" to simplistic.
  28. Seven Pounds has a heart as big as all outdoors. Unfortunately it's made out of high-fructose bull.

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