Chicago Tribune's Scores

For 4,348 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 4.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 O Brother, Where Art Thou?
Lowest review score: 0 Love Stinks
Score distribution:
4,348 movie reviews
  1. Take Me Home Tonight, believe me, you've already seen.
  2. On the whole, I'd rather be on Pluto, which isn't even a planet.
  3. An exhaustingly pushy, phallocentric and witlessly smutty spoof of early '80s medieval fantasies such as "Krull" and "The Beastmaster."
  4. Hanna presents the problem of the well-made diversion that is, at its core, repellent.
  5. The wastrel Sparrow ends up both overexploited and underpowered in this fourth outing.
  6. Hangover II is more like a spitball meeting, a series of ideas that might, in theory, be good enough for a sequel, than it is an actual movie.
  7. Just another self-absorbed teen chronicle, with the added twist of a little time travel and a surprise ending.
  8. Maybe this review is more about me than about Conan O'Brien, but I really couldn't get past the odor of self-congratulation emanating from nearly every scene in Conan O'Brien Can't Stop.
  9. A work of ineffable soullessness and persistent moral idiocy.
  10. The events of the movie may be a little bit true, or a lot, but hardly any of it plays that way.
  11. The first "H&K" caught people off-guard with its canny idiocy and zigzagging, picaresque treasure hunt premise. By now, there's no catching anyone off-guard with these two, except by way of the most off-color and off-putting means possible.
  12. Reveals a flash or two of real filmmaking (mostly in a suggestively grotesque birthing sequence), enough to save it from pure lousiness.
  13. If actors this good cannot overcome their material, then we can only say: Tom Hanks, Sandra Bullock … Max von Sydow, Zoe Caldwell, Viola Davis, Jeffrey Wright, John Goodman… thanks for your honest efforts in the service of a fundamentally dishonest weepie.
  14. Hutcherson spits his lines out as quickly as possible, which you appreciate, because the way the likable Johnson wrestles with his lines ("It looks like the liquefaction has tripled overnight!") you think, well, it's a living.
  15. Madonna stayed married to director Guy Ritchie just long enough to absorb his most grating cinematic instincts - shooting in every style, in an addled, shuffle-mode, falsely glamorizing way until all is chaos. And, astonishingly, boredom.
  16. The storytelling proceeds in such a halting manner, with De Niro's speeches going on and on and on, that before long you'd kill for an easy scare.
  17. Here and there, in the father/son scenes, you see a glimmer of an honest interaction. All in all, I'd rather watch a "Ned's Declassified School Survival Guide" rerun.
  18. Because The Campaign tries to say something about truth vs. hogwash in election season, it's doubly sad the efforts of screenwriters Chris Henchy and Shawn Harwell come to so little.
  19. Hit & Run is pretty rancid as comedy. Worse, the chases are strictly amateur hour, all shortcut editing and no gut satisfaction.
  20. Calling Dredd 3D a movie is sort of a lie. It's a premise, and there are levels to reach, and always there's another grimy hallway to stalk, and then you turn right or left, and then kill some more.
  21. Davis, in particular, manages to create a fully dimensional character in the midst of a highly polemical screenplay.
  22. Boasts one moment, perhaps three or four seconds in length, so delightfully intense and uncharacteristically juicy that the rest of the film - most of the rest of the whole series, in fact - looks pretty pale by comparison. Not vampire pale. Paler.
  23. Only Biel and Greer lift it above the level of bleh.
  24. The camera bobs and weaves like a drunk, frantically. So you have hammering close-ups, combined with woozy insecurity each time more than two people are in the frame. Twenty minutes into the retelling of fugitive Valjean, his monomaniacal pursuer Javert, the torch singers Fantine and Eponine and the rest, I wanted somebody to just nail the damn camera to the ground.
  25. Gordon is lost, and his style of shooting - telescopic close-ups, which never give us enough space to appreciate the performers - feels wrong for comedy.
  26. This is a fantasy grab bag in which nearly anything can happen.
  27. Isn't just the weakest of the "Die Hard" pictures; it's a lousy action movie on its own terms.
  28. The Incredible Burt Wonderstone serves as a reminder that everything in a film has a chance to go wrong before a film begins filming. In other words: It's the script, stupid.
  29. It's Bay World. And after an hour of Pain & Gain, it felt more like "Pain & Pain."
  30. When Jason Sudeikis and Ed Helms appear in the same movie there's a significant threat of clean-cut sameness. Mediocre material makes them like two halves of the same comic actor: Ed Jason Helms-Sudeikis.

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