Chicago Tribune's Scores

For 4,900 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 3.1 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Heaven Knows What
Lowest review score: 0 Bratz
Score distribution:
4900 movie reviews
  1. Settles for being simple, familiar and ineffective, though I suspect it'll warm a few hearts.
  2. Absorbing in places, but considering the large and diverse pool the filmmakers had to draw from, it's a surprisingly repetitive and predictable collection of big-city sagas.
  3. Too often the film itself simply shuffles the postcards of Tibetan scenery, Buddhist rituals and the Tibetan people (many amazing faces on view, to be sure).
  4. The sense of the unknown that "Padgett" created are largely absent. And the movie fails to supply us with an antagonist to work up some dramatic conflict. Nor are the toys themselves very interesting and Mimzy is a toy bunny of no distinction.
  5. The film is a competent but callow work dealing with a monstrous subject that automatically rejects callowness.
  6. Has heart, but lacks bite.
    • Chicago Tribune
  7. A tedious picture, redeemed in part by Tom Wilkinson's performance as Tuppy--he's the sole cast member who doesn't give birth to every epigram--and by the hats.
  8. The latest Reacher film is directed, with reasonable skill and no trace of personality, by Edward Zwick, based on a screenplay taken from the 18th novel. I wish I had more dynamic news to report, but contrary to Reacher's own violent tendencies, some things in life and the movies practically defy a strong reaction.
  9. Though the Thornberrys provide some much-needed energy, asking them to carry the movie is like expecting a sweeps-week celebrity cameo to make an entire 30-minute sitcom episode funny.
  10. The directive behind this sequel, clearly, was non-stop action. Let's think about that phrase a second. Do we really want our action movies to deliver action that does not stop? Ever? I get a little tired of action sequences that won't stop.
  11. I didn't laugh much, nor did my 10-year-old companions, but nobody had their soul crushed by the experience. This is the film industry's Hippocratic oath: First, crush no souls.
  12. This film has so many good ideas, it tends to seem better after you've left the theater. But the mock TV stuff is just too faux to be funny.
    • Chicago Tribune
  13. By creating a kind of politically correct version of Andy Griffith's "Mayberry," director Bezucha has drained the movie not only of bigotry but also of dramatic conflict.
    • Chicago Tribune
  14. Part gambling heist, part graphic novel, part metaphysical mumbo jumbo, Revolver is a mess of many colors, few of them satisfying.
  15. The absurd meets the violent meets the droll, and we just watch from the outside, never having been drawn in by anything resembling believable feelings or behavior.
    • Chicago Tribune
  16. The trajectory of the film -- despite its excellent cast and intelligent mounting -- is too preordained.
  17. A wildly expensive movie full of computers, nonsense and violence, a film where wit, romance, elegance -- everything -- is sacrificed on the altar of giganticism, cliche and over-the-top action.
  18. Boyle's new movie is mostly a zombie fiasco, closer to the vacuities of "The Beach" than the scintillating social satire of "Trainspotting."
  19. Galifianakis steals the show as the friendly fussbudget in a performance we've come to expect from him. The enormous potential on screen is tantalizing, which is why the disappointment of failed execution stings.
  20. Keith -- a consistent hit-maker who wrote the controversial 9/11 song "Courtesy of the Red, White and Blue" -- has a future in movies if he wants it. Hopefully, they'll be better ones than this.
  21. The cast manages some sweet moments, and Plowright lends a touch of grace and wit to each new indignity or kindness. Yet the whole thing feels programmed; the movie's sense of humor lacks understatement.
  22. A breakthrough for karate comedy king Chan, but not necessarily the kind we've all been waiting and hoping for. It's an ultra-digitized DreamWorks show crammed with elaborate special effects, the kind that physical-stunt specialist Chan has always avoided.
  23. Riddled with comic potholes.
  24. Alien Nation is a sluggish, forced and hopelessly derivative action thriller, sporadically redeemed by the wit of its stars and the velvety sheen of Greenberg's night photography.
  25. The sequel's themes of friendship and interdependency fail to generate much momentum.
  26. This is a project whose elements, from concept to script to casting, refuse to follow the usual formulas, which is good, yet they never quite cohere.
  27. A likable little movie without much to offer but cute tots, recycled gags and a talented cast amiably wasting their time and ours.
  28. Shackles its characters with stale dialogue straight out of decades-old Sgt. Rock comic books.
  29. The film's tone is utterly indistinct, beyond fatuous adoration of its subject.
  30. No one expects documentary realism in these memoir-to-movie transfers. It's reasonable, however, to expect more vibrant and expressive fictionalized treatment than this.

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