Chicago Tribune's Scores

For 4,588 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 3.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Safe Conduct
Lowest review score: 0 What Goes Up
Score distribution:
4,588 movie reviews
  1. Freshman Orientation is not incompetently made. Nor is it badly acted. But there’s not a fresh idea in it, and everyone on screen seems to be in a different comedy.
  2. The revenge in Oldboy is neither sweet nor sour; it's just drab.
    • 35 Metascore
    • 38 Critic Score
    If you are at all squeamish about incest and/or prefer sex scenes without violent undertones, you should avoid this movie.
  3. There's really just not a lot here. I'm sure Racer's story will entertain the very wee ones -- but so do keys.
  4. 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.
  5. Schreiber and Stiles are good actors, and they're actually acting, if not to any actual avail. In the silliest recasting, a comically exaggerated Mia Farrow takes over for steely Billie Whitelaw in the evil nanny role.
  6. Dempsey's pleasant enough, but he hasn't yet learned how to play against a mediocre script's obviousness. Monaghan has, which is gratifying.
  7. A coming-of-ager that nearly slaughters you by minute 30 with the relentlessness of its protagonist's voiceovers.
  8. I guess there's something progressive going on when a lesbian love story gets to be just as dreadful and tacky as most straight ones.
  9. 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.
  10. Levinson has written and directed in many genres. But rarely has he made a film as indecisive and diffident as Man of the Year.
  11. Stiller, a DodgeBall producer, is revealing an unfortunate craving for the cheese of his childhood.
  12. With such a bang-up cast, this setup could at least elicit some tears, but in its 107 minutes, nary a one welled up in my eyes.
  13. The latest, Untraceable, owes everything to “Lambs,” and to “Se7en,” and to all the “Lambs” and “Se7en” knockoffs made by directors less talented than Jonathan Demme and David Fincher. In addition to being dull, the Portland, Ore. -set Untraceable is a monster hypocrite, wagging its finger at the mass audience’s appetite for strictly regimented, “creative” torture scenarios.
  14. It is, for what it is, a work of considerable care and craft. And it's completely soulless.
  15. Salerno blows little more than smoke in this one, especially near the end, when we get to the maybe-probably-sort-ofs regarding the maybe-probably-possibly full vault of unpublished work.
    • 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.
  16. Take Me Home Tonight, believe me, you've already seen.
  17. 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.
  18. Astonishingly, Angels & Demons IS the same sort of lumbering mediocrity.
  19. Amiable Gooding still smiles through it all, weathering the cold, physical abuse and implied racism, doing his best to make his audience believe that Snow Dogs isn't offensive mush. But he can't bring it off.
  20. Bride Wars really does not capture the mood of the moment. It comes from a different time, a different planet.
  21. A pair of decent performances does not a movie make, however, as Mazur and Giovinazzo are surrounded by fourth-tier actors (Ventresca and Steven Bauer) and spotty directing of a mediocre script.
    • Chicago Tribune
  22. Let's just say that not revealing this film's idiotic intricacies would be like not divulging that the fish is rotten lest the news spoil the surprise of food poisoning. [28 May 1999, Friday, p.A]
    • Chicago Tribune
  23. A remake for schlemiels, or at least easy marks when it comes to formulaic Hollywood comedy. But the film's peculiar sluggishness and nagging hypocrisy probably won't get in the way of its popularity.
  24. Ludicrous and overstuffed, it plows through the Big 10 of Biblical plagues.
  25. Moving slowly these days, Reynolds does less than no acting in this role, and he’s still the best thing in Deal.
  26. Against the rest of his dramatically flimsy crew, Snipes' sunglasses-at-midnight strut conveys an almost lifelike sheen. Almost. He's more alive than the movie, which is dead on arrival.
  27. Director Burr Steers milks them dry, like an overeager farmer at milking time, which is a paradox since this is the wettest picture of 2010, what with the sea spray and Efron's tear ducts and the general metaphysical mist.
  28. The direction is on auto-drive, the dialogue lacks wit and the story logic is non-existent. [03 Nov 1995]
    • Chicago Tribune

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