Chicago Tribune's Scores

For 4,530 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:
4,530 movie reviews
  1. An overblown clunker full of bad jokes, howling cliches and by-the-numbers action sequences.
  2. A clammy little number that might've been funded by the Department of Homeland Security.
  3. Black or White may not be racist, exactly, but it patronizes its African-American characters up, down and sideways, and audiences of every ethnicity, background, hue and predilection can find something to dislike.
  4. In White Noise, Hollywood and Michael Keaton try to make a decent thriller out of ghosts in the machine but come up with lousy reception and static.
  5. Gimme Shelter suffers from an acute case of the fakes. The speeches sound like speeches, and not good ones.
  6. Lapica isn't yet enough of a writer or director (or an actor) to make the dramatic arc unpredictable in any way. It may be effective for some as therapy. It is far less so as cinematic storytelling.
  7. Aaron Russo's America: Freedom to Fascism can't even think straight, it's so mad.
    • 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
  8. The sequel is about nothing more profound than an awkward teenager's desire for a really cute boyfriend. [12 March 1999, Friday, p.N]
    • Chicago Tribune
  9. Staggers and wanders and feels far longer than its 85 minutes, and it's best considered a calling card for better things to come.
  10. It's a movie, and certain liberties are bound to be taken, but having Derek stop a moped-driving Brit on the street by pulling out some sort of identification and yelling, "CIA, I need your moped!" is not the way.
  11. An almost terminally sappy youth romance.
    • Chicago Tribune
  12. In this bizarre tale of man among the apes and a psychiatrist among madmen -- an over-emotional hybrid of "Gorillas in the Mist" and "One Flew Over the Cuckoo's Nest" -- style buries substance.
  13. A bad, bad movie...It's loud and dumb and it wastes a good cast on a ludicrous script.
  14. Yes
    This is the kind of movie that nice people call ambitious. Let's just leave it at that.
  15. Sex Tape settles for violence when violent slapstick, a lot harder to finesse, was the implicit goal of the picture.
  16. CJ7
    CJ7 is roughly as grating as that “Flubber” remake.
    • 38 Metascore
    • 38 Critic Score
    A thin, largely unfunny comedy that marries lazy filmmaking with bad timing.
  17. The poster’s the funniest thing about the project: Johnson, sporting a pair of fairy wings larger than his forearms, glaring at the camera.
  18. 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.
    • 44 Metascore
    • 38 Critic Score
    This ultimately disappointing comedy starts reasonably strong, delivers a few good laughs, then rolls over and plays dead.
  19. It's reductive, insanely violent slapstick, but that's the phenomenon in a nutshell.
    • 46 Metascore
    • 38 Critic Score
    A cutesy, heavy-handed morality tale that contains nary a believable moment.
    • Chicago Tribune
    • 40 Metascore
    • 38 Critic Score
    Illegal Tender echoes "A History of Violence," another gritty film that explores escaping a criminal past. But the vast vapidity behind Illegal Tender's ill-conceived story line is far harder to overcome.
  20. This was a mission that should have been aborted long ago.
  21. Williams' grimace is starting to look desperate. Then again, no one comes off well in director Ken Kwapis' handling of this greasy screenplay.
  22. John Waters is back with this awfully bawdy, never sexy, rarely funny, actually boring, one-note sex comedy.
  23. In the end you don't believe what you're watching, and you don't care. This party is a drag.
    • 50 Metascore
    • 38 Critic Score
    The Ten changes tone every few minutes, ranging from lowbrow gross-out gags to elevated language to a big, sloppy musical number.
  24. The screenplay by Dana Fox (she was one of the rewriters of "27 Dresses") devolves into a series of humiliating pranks that always give the upper narrative hand to the male lead. Talk about depressing. I mean, that's what male screenwriters are for--to unfairly stack the deck against the female leads.

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