Chicago Tribune's Scores

For 4,460 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 3.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 On the Run
Lowest review score: 0 Hostel: Part II
Score distribution:
4,460 movie reviews
  1. Schreiber and Stiles are good actors, and they're actually acting, if not to any actual avail. In the silliest recasting, a comically exaggerated Mia Farrow takes over for steely Billie Whitelaw in the evil nanny role.
  2. The cast is quite good. But Peaceful Warrior, which is basically "The Karate Kid" with a bigger kid and a bigger mentor, represents a journey of predictability, rather than a destination worth the trouble.
  3. Aside from influences such as "A Christmas Carol" and "It's a Wonderful Life," Click is so much like the Jim Carrey vehicle "Bruce Almighty"--Steve Koren and Mark O'Keefe worked on both--the writers could sue themselves for plagiarism and then write a screenplay about it.
  4. I'd be lying if I said I didn't laugh at some of this--though it's not as funny as Laurel and Hardy as toddlers in "Brats." But I wanted to slap myself whenever I did.
    • 33 Metascore
    • 38 Critic Score
    Gruesome and supremely disjointed foray into the world of hired assassins.
  5. The film is a rogue hunk of hooey.
  6. It lacks a sharp look and satisfyingly fleshed-out story and compensates with one numbing round of insect- or human-based peril after another.
  7. Aaron Russo's America: Freedom to Fascism can't even think straight, it's so mad.
  8. Combine the uninhibited raunchiness of John Waters with the gross-out zeal of the Farrelly brothers and you get Another Gay Movie, a parody and comedy more numbingly disgusting than funny.
  9. Doesn't provoke bittersweet inquiries regarding one poor actress' grisly fate. Nor does it stir up much provocation on the matter of why, as a popular audience, we're still taken with this lurid symbol of sex and dread and desire. Rather, the movie raises a much simpler question: Huh?
  10. The film is a fancy-pants muddle in terms of technique. And if Bloom doesn't do something about his smirky tendency to troll for audience approval, his career may be severely limited.
  11. Only the architecturally refined bone structure of Kristin Scott Thomas' face rescues Keeping Mum from full-on tedium.
    • 44 Metascore
    • 38 Critic Score
    This ultimately disappointing comedy starts reasonably strong, delivers a few good laughs, then rolls over and plays dead.
  12. Levinson has written and directed in many genres. But rarely has he made a film as indecisive and diffident as Man of the Year.
  13. Despite valiant efforts from Czerny and from the fine stage actress Vilma Silva, who plays one of Walsch's many saviors, the result would qualify as a blandly inspirational amateur hour if the running time weren't closer to two.
    • 28 Metascore
    • 38 Critic Score
    Nobody expects every holiday film to ascend to classic status; in fact, we're happy to let most fade from memory as soon as the decorations are taken off the trees. We can, however, demand they live up to a certain level of fun, thereby allowing parents to watch along with their kids without plotting the most direct route to the exit.
  14. Writer-director Thom Fitzgerald's ambitious but hopelessly inchoate AIDS drama is actually three separate, sequentially-told stories.
  15. The stalwart American hero of Turistas comes off as a dislikable blank in the hands of Josh Duhamel, of the TV series "Las Vegas." More relaxed is Melissa George, who co-stars as the Aussie.
  16. The Good German is just stiff. When Soderbergh tries one of those patented swoop-in-on-the-diagonal moves at a key dramatic moment, the effect is comic. And at that precise moment, the story starts dying a slow, oxygen-deprived death.
  17. 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.
  18. Stranded in this charmless fantasy, Stiller is reduced to his old halting, squirming tricks.
  19. A mild and static attempt at sincere camp.
  20. Formulaic romantic junk.
  21. Black Snake Moan strikes me as hogwash. It fundamentally does not work; its consciously far-fetched, out-there notions of the things damaged people do in the name of love are reductive and go only so far. It's as if the premise were tethered to a radiator or something.
  22. Calling a sequel Are We Done Yet? is like calling it "Enough Already."
  23. Ludicrous and overstuffed, it plows through the Big 10 of Biblical plagues.
    • 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.
  24. 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]
    • Chicago Tribune
    • 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]
    • Chicago Tribune
  25. The direction is on auto-drive, the dialogue lacks wit and the story logic is non-existent. [03 Nov 1995]
    • Chicago Tribune

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