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 Blade Runner
Lowest review score: 0 Bratz
Score distribution:
4,530 movie reviews
  1. Offers the most onscreen explosions in recent memory. It's almost pornography for arsonists.
  2. The appeal of the film version, such as it is, relates almost entirely to eye-for-an-eye, severed-limb-for-a-limb vengeance, two hours and 41 minutes of it, with just enough solemnity to make anyone who thought "The Dark Knight" was a little gassy think twice about which superhero myth THEY'RE calling gassy.
  3. Feels about 150 years out of date.
  4. What we get, while rarely boring, is a succession of senseless scenes bathed in formula-thriller blue light, full of blazing Uzis, exploding helicopters and sentimental male bonding.
  5. 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.
  6. So filled with illogical twists and ridiculous turns, that eventually it evokes unintentional laughs.
  7. For me, the mechanics or even the (excellent) designs are not enough. Jeunet's archness keeps conventional empathy or engagement at bay, and by design maintains a tone of artificiality.
  8. With Clockstoppers, Frakes hobbles along with a high-concept film that doesn't live up to its potential.
  9. Knight and Day may well suffice for audiences desperate for the bankable paradox known as the predictable surprise, and willing to overlook a galumphing mediocrity in order to concentrate on matters of dentistry.
  10. This is a fantasy grab bag in which nearly anything can happen.
  11. Fairly well done but deadly dull futuristic thriller.
  12. Only Biel and Greer lift it above the level of bleh.
  13. Black delivers the best line (“Do you want me to get naked and start the revolution?”), and Lithgow scores a giggle for calling his ex-wife “coyote ugly” to her face, but neither of them can disguise this lemon.
    • 29 Metascore
    • 38 Critic Score
    Presumably, this movie was designed to be a fun romp, and in that it fails.
  14. Even with a new leading man and a more family-friendly rating, some things never change: The Mask still stars Industrial Light & Magic.
    • 31 Metascore
    • 38 Critic Score
    If the filmmakers wanted to talk so much, they should have just gotten together for a long, anecdote-filled, wine-soaked Spanish dinner party and amused themselves.
    • 33 Metascore
    • 38 Critic Score
    Gruesome and supremely disjointed foray into the world of hired assassins.
  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 may well be a hit, but me, I'm waiting for "Iron Man 2."
  17. 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.
  18. Neither drama nor comedy, Summer Catch is a long, slow lob of a movie that never crosses the plate.
  19. Meets the low standards of a mediocre TV movie.
    • Chicago Tribune
  20. A preposterous screwball psychological drama.
  21. "The Misadventurer" is more like it.
  22. 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.
  23. A grotesque slumgullion of kung fu, studio schlock and pseudo-Dumas swashbuckling that leaves you longing for Doug Fairbanks --or even Don Ameche and The Ritz Brothers.
    • Chicago Tribune
    • 15 Metascore
    • 38 Critic Score
    Shallow and repetitive.
  24. How much of what we see in Third Person is the novelist's invention is part of the guessing game that goes on and on. And. On.
  25. The line between cool and cold is a thin one, however. Cool isn't the word for "Thirteen"; it's just smug.
  26. 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.

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