Chicago Tribune's Scores

For 4,441 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 3.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Score distribution:
4,441 movie reviews
  1. I enjoyed Eliza Dushku's mad poetess, probably for the wrong reasons, but with a project this meager, you take your artful sneers and scenic diversions where you can get them.
  2. Seven Pounds has a heart as big as all outdoors. Unfortunately it's made out of high-fructose bull.
  3. Bride Wars really does not capture the mood of the moment. It comes from a different time, a different planet.
  4. This material is offensive. The film may end with a straight-faced reassurance that "no actual Torah scrolls were destroyed or damaged in the making of this motion picture," but it's perfectly willing to exploit the Holocaust for cheap, weak thrills.
    • 47 Metascore
    • 38 Critic Score
    Some of the players comport themselves better than others--Barrymore is sweetly wistful in her minor role, while Johansson, as a confident go-getter who sets out to steal her crush object rather than moon over him, is sexier than the whole cast put together.
    • 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.
    • 38 Metascore
    • 38 Critic Score
    A thin, largely unfunny comedy that marries lazy filmmaking with bad timing.
    • 34 Metascore
    • 38 Critic Score
    This new Friday the 13th, unquestionably savvier and snappier than the original "Friday the 13th," though just as useless, is a needed return to simplicity.
  5. Feels about 150 years out of date.
  6. Astonishingly, Angels & Demons IS the same sort of lumbering mediocrity.
    • 45 Metascore
    • 38 Critic Score
    The film is awkwardly stitched together from candy-gloss arena concert footage and somewhat grimier-looking backstage/limo/hotel room moments. There is no attempt to make it all hang together as an organic whole.
  7. It's tough to get on board with these monsters. They don't get the banter they--or we--deserve, and the screenwriters lean on wearying stereotypes.
    • 38 Metascore
    • 38 Critic Score
    Noisy, cut into a head-snapping blur with little room for Cena to even try showing emotion, 12 Rounds is an occasionally exciting but always empty experience.
  8. A coming-of-ager that nearly slaughters you by minute 30 with the relentlessness of its protagonist's voiceovers.
  9. The movie's heart, of course, is with poor addled Mike and his kids, but 17 Again works only fitfully to make the Efron/Perry character worth a story.
  10. Ferrell may well shoulder the blame for Land of the Lost, even if he doesn't deserve it. He did, however, willingly participate in this coarse, sloppy big-screen version of the old Saturday-morning time-warp adventure.
  11. Fox's cleavage is the only camera object that catches Bay's attention for more than a millisecond.
  12. Easy Virtue may be a bauble, as Larita's described at one point, but Coward's examination of hypocrisy demands real skill. The style should suggest "whipped cream with knives," as Stephen Sondheim once described "A Little Night Music." Elliott's film is more like curdled milk with a spork.
  13. How big a bastard can Woody Allen build a screenplay around and still generate a modicum of audience goodwill? The answer: not this big.
  14. The pacing throughout is languid. Your eye becomes fixated on the hideous 70s wallpaper behind them. If only the story's interstellar narrative developments had the intensity of that wallpaper. Rod Serling might've gotten a great hour out of it (the story, that is, not the wallpaper). It simply is not two hours' worth, no matter how many quantum leaps into the unknown Kelly takes.
  15. I wish the movie made emotional sense, because it’s all about getting in touch with whatever’s holding you back, but it doesn’t.
  16. It's a serious drag to see how Ritchie has turned Holmes and Dr. Watson into a couple of garden-variety thugs.
  17. Not so much character-driven as character-dragged--against its will.
  18. Numbingly gory when it isn’t just plain numbing.
  19. There’s nothing wrong with All About Steve that a rewrite couldn’t fix, as long as the rewrite involved a different writer, a different character and a different story.
  20. This is “True Lies” without the striptease or the Arab-maiming.
  21. The scenery's nice. But once you've said the scenery's nice, you're no longer talking about a movie worth talking about.
  22. The poster’s the funniest thing about the project: Johnson, sporting a pair of fairy wings larger than his forearms, glaring at the camera.
  23. Certain scenes in When in Rome signify nothing less than the death of screen slapstick, but I’m hoping it’s one of those fake-out movie deaths where it’s not really dead, not forever.
  24. The acting's not the problem, and it's a nice thing to find Moore playing a human-scaled human being, with a recognizable human touch. The material has a hint of it too. But only a hint.

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