Chicago Tribune's Scores

For 5,141 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 2.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 The Dark Knight
Lowest review score: 0 I Hope They Serve Beer in Hell
Score distribution:
5141 movie reviews
  1. This seems to be a movie made by people who love the old classic movie swashbucklers but don't have a clue how to make or modernize them.
  2. By the time Perfume arrives at its ridiculous mass orgy, staged at the gallows where Grenouille is supposed to meet his end, you really would rather see him meet his end than endure a ridiculous mass orgy.
    • 51 Metascore
    • 50 Critic Score
    What a vivacious-looking, tartly-scored bore of a movie.
  3. It's an intriguing premise, weakened by a script lacking in strong forward motion.
  4. Rio
    The movie isn't dull, exactly; the problem lies in the other, antsy direction.
  5. Whatever is lost in translation can't keep Appleseed from feeling a decade late--and its animation from looking like a relic on arrival.
  6. Clooney remains as game as ever, but the way he and McDormand push the energy here, you feel the strain. Pitt, just floating through, comes off best. He doesn't judge the moron he's playing; he just is.
  7. Girl Most Likely goes a little bit wrong in nearly every scene, its stridently quirky characters never quite making sense together in the same universe, let alone the same movie.
  8. After the fourth electrocution gag, the 10th smack in the face and the 12th assault on a wee rodent crotch, we could all use something quiet.
  9. The sharpest five minutes in Alex Cross, by a considerable margin, belong to Giancarlo Esposito.
  10. The film never gets going. It's too slow and plodding for kids--even too obvious.
  11. Never Been Kissed features a fierce tug of war between the charm of Drew Barrymore and the stupidity of the script.
  12. Those looking for some human interest in their human interest may be equally frustrated.
  13. Unfortunately, the humans only have scripts to support them. So for every bear triumph, Country Bears also features cliched jokes, corny sentiment, ludicrous shtick and the most flabbergasting set of star cameos since Martha Stewart and Michael Jackson wandered into "Men in Black II."
  14. Shyer's direction of actors rises instantly to a level of cartoonish hysteria and descends only for occasional wet bursts of sentimentality. But as an exercise in ideological persuasion it works appallingly well, playing on deep-seated guilts and insecurities with a sureness of touch that may make it a hit with the audience it caricatures.
  15. Lacks the guts of genuine satire.
  16. Though the film has a plot a simpleton could follow, its hallmark is confusion. Its sense of time and place and its point of view are muddled. [13 Oct 1989, p.L]
    • Chicago Tribune
  17. The movie Gray's Anatomy demonstrates that fully stimulating the senses isn't the same as fully engaging them. Gray still begins talking in his trademark plaid shirt with a notebook and glass of water at his table, but soon Soderbergh is sending him on a Disney ride of scenery changes, lighting effects and moody music. [1 August 1997]
    • Chicago Tribune
  18. Veers perilously close to the concept of poverty tourism.
  19. There is a crazed, dark poetry here, but Mary Lambert's direction of Pet Sematary captures none of it, and the film falls into a flat, frequently laughable literalism. [24 Apr 1989, p.C2]
    • Chicago Tribune
  20. Heartbreakingly average, director Robert Redford's The Conspirator errs in the way so many films do, especially films about unsung pieces of American history. It focuses on the wrong character.
    • 59 Metascore
    • 50 Critic Score
    By the time of Fielding's and Sarah's final, gooey encounter, she's not the only one who needs waking.
  21. Doesn't really work when examined in the daylight outside the theater doors.
    • Chicago Tribune
    • 28 Metascore
    • 50 Critic Score
    It's pretty muddle-headed and confusing.
  22. The movie bumps along from low-grade scare to scare, and it's not lousy, mainly because Virginia Madsen prevents it from being so.
  23. A decent idea that never goes deep enough for genuine satisfaction.
    • Chicago Tribune
  24. Billed as one of the most frightening, depraved films ever made. Would that it were so. Instead, this is a case of much ado about nothing. [15 February 1991, Friday, p.C]
    • Chicago Tribune
  25. A sweetly benign comedy that allows the actor (Jones) to lampoon his tough guy image honed in "The Fugitive" and "U.S. Marshals."
  26. It has a rich premise and no lack of amazements. What it lacks in any sort of dramatic shape.
  27. Dark Shadows illustrates the fine line in a pop reboot between "relaxed" and "lazy."

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