Chicago Tribune's Scores

For 4,502 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 Before Sunset
Lowest review score: 0 UHF
Score distribution:
4,502 movie reviews
  1. As robust and clever an actor as Cox is, he can't make Jacques any less of a blowhard; Kari's wit simply doesn't come through in English, at least with this script.
  2. Just withers compared with many older, better movies about teen alienation and nihilism, from "Rebel Without a Cause" to "River's Edge."
    • Chicago Tribune
    • 52 Metascore
    • 38 Critic Score
    It's almost always rewarding to watch an underdog triumph--what else could explain why movies exactly like this keep being made?--but Longshots is one underdog that's hard to love and harder still to champion.
  3. The movie itself is hyperactive and a jumble.
  4. Packed with gratuitous dumb moments -- which is too bad, given that the premise has promise.
    • Chicago Tribune
  5. It's no better, no worse and essentially no different from the jocular, clodhopping brutality of the first one.
  6. I wish The Boy Next Door were a different, zingier sort of mediocrity, but whenever it threatens to go the full Zalman King "Two Moon Junction" route, it pulls back and behaves itself and settles for a grindingly predictable series of escalations.
  7. Recycling the regressive humor of his (Sandler’s) previous films, it piles on so much sentimentality that you wonder how anyone could consider him a renegade. [25 June 1999, Friday, p.A]
    • Chicago Tribune
  8. A fast, slick, outlandish fiasco that starts out well and then seems to drop right off a cliff.
  9. An unabashedly bad movie full of cliches, claptrap, fairly good rock 'n' roll and stomach-turning gross-out gags.
  10. The sole memorable scene involving a little Focker in Little Fockers, though memorable doesn't mean amusing, involves Ben Stiller's male-nurse character administering a needle full of adrenaline to his dyspeptic and unhappily aroused father-in-law Jack Byrnes, played by Robert De Niro.
  11. Squanders a decent comic premise.
  12. All you want from a movie like this, really, is a little brainless fun, and it keeps holding out on you. Everyone looks fatigued. Even Cage’s toupee seems ambivalent about having signed on for a sequel.
    • 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.
  13. Some film premises are so outlandish, so thinly worked out and so deep-down ridiculous that they wind up sinking the show -- and White Chicks collapses under a real doozy.
  14. Even as slapstick, it's a major snoozefest.
  15. This movie is just not cool or hip or in any way extreme. Sitting through Grind is a real grind.
  16. Sweet-tempered but superficial.
  17. What we have here is a much less radical movie than writer Hughes probably believes he has created. Yes, he's given us an individualistic girl, but she swoons like a robot after the first reasonably human WASP or WASC asks her for a date. [2 Feb 1986]
    • Chicago Tribune
  18. A gaudy yet grim science-fiction horror movie of such surpassing silliness, humorless intensity and stylistic overkill that watching it may actually put you in a state of paranoia.
  19. The tragedy is that the performance comes to nothing. Nearly everything else in the film is vile.
  20. Though The Kid & I falters as both a comedy and an After School Special, it works as a rather touching episode of "This is Your Life," with a parade of cameos from Arnold's career that'll coax a sniffle or two from his family.
  21. A poor man's "When Harry Met Sally."
  22. The actors had little to work with in this passe social satire, but sharper performances might have saved Marci from total humorless ruin.
  23. Nobody watches a disaster movie starring digital tornadoes expecting Oscar Wilde. But Into the Storm, directed with bland efficiency by Steven Quayle of "Final Destination 5," reminds us that unless a movie establishes certain base-line levels of human interest, it runs the not-unentertaining risk of coming out squarely in favor of its own bad weather.
  24. Anytime Jaa isn't on screen, The Protector sputters.
  25. Line to line, Stallone has a particularly numbing penchant for the f-word. But the key f-word in Homefront is "familiar."
  26. The crass sentimentality of American Wedding increasingly fits Norman Mailer's definition: "the emotional promiscuity of the basically unemotional." The jokes are unemotional, uncouth and mostly unfunny.
    • 55 Metascore
    • 38 Critic Score
    Degenerates into a slow-moving game of connect-the-gross-outs.
  27. Isn't much more creative than your average gross-out comedy.
    • Chicago Tribune

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