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
    • 74 Metascore
    • 50 Critic Score
    Gavras’ ending makes it clear where her sympathies lie. In the process of building to that conclusion, she overplays her metaphor a bit, but still, political tracts rarely come this sweet and sympathetic.
  1. The Door in the Floor feels more about a situation than actual people. It's sensitively rendered, filled with those necessary evocative details, and it never rings true.
  2. There's something both moving and crass in how directors Elliot Berlin and Joe Fab film these tiny paper fasteners.
  3. It's secondhand, vaguely resigned material. And while Sudeikis has some talent, he's not yet ready to co-anchor a feature comedy. He's no Ed Helms, in other words.
  4. It's not very funny, but your kids might like it.
  5. Finally, a film to unite movie-mad members of Al Qaeda with your neighbor's kid, the one with the crush on Natalie Portman.
  6. Depardieu has so much life on screen, so much bounding energy and insistent physicality, that he almost brings it off.
    • Chicago Tribune
  7. Still Life is a very different story, small and quiet and, unfortunately, airless.
  8. Disappointingly hollow.
    • Chicago Tribune
  9. Unfortunately, the home-run performances of Cube and Epps are handicapped by inept and illogical action sequences.
    • 49 Metascore
    • 50 Critic Score
    If frenetic pacing alone made a movie interesting, Queens would be cinematic solid gold.
    • 44 Metascore
    • 50 Critic Score
    What we have here is the cinematic equivalent of a dead shark.
  10. Kidnap probably could’ve played into its feverish, violent, trashy side more aggressively. As is, something seems to be holding it back from its own monstrously exploitative premise.
  11. The leading actors labor valiantly and to little effect.
  12. Ragged as some of it might have been, that old "Out-of-Towners" had a unified and surprisingly dark comic vision to go with its nifty one-liners. This big, glossy picture is set in movie-movie land, that shiny, peachy place where a celebrity -- like Mayor Rudy -- waits around every corner. [2 April 1999, Friday, p.A]
    • Chicago Tribune
  13. Although Joffe appears to be making a Brighton version of the seductively natty evil we find stateside in "Boardwalk Empire," this Brighton Rock remains muffled, half-formed pulp fiction.
  14. While cinema may be a visual medium foremost it's also an aural one, and the cacaphony of dialects sounds not so much "universal" or interestingly multicultural as simply all over the map.
    • 35 Metascore
    • 50 Critic Score
    Here’s all you really need to know before the opening credits roll in Hitman: There’s going to be a lot of bloodshed. And that’s a good thing, considering there isn’t much dialogue to carry the film.
  15. The film has a persistent and careful sheen. It looks good. It is, in fact, preoccupied with looking good. If this sounds like faint praise, I'm afraid it is.
  16. Funny Games is fundamentally a bourgeois exercise in authorial sadism. As the methodical games grind on, the suffocatingly beige and white surroundings start to look like a mausoleum.
  17. Unfortunately, No Escape can't stay 10 steps ahead of its misguided politics and overly dramatic storytelling and crumbles under its own preposterous climactic denouement.
  18. Something about baseball seems to bring out the silly side in moviemakers -- even in a movie like The Fan, which starts out well-crafted and deadly serious and seems to have good enough actors and a savvy enough director to stay that way. But halfway through this thriller things go haywire. [16 Aug 1996, p.D]
    • Chicago Tribune
  19. The last third of the film descends straight into a combination of "Dynasty" with shades of cult classic "The Room." It's fantastic because it's complete and utter silly madness. Helicopter crashes! Slaps! Drinks thrown in faces! Fully clothed shower sex! A framed "Chronicles of Riddick" poster! All the makings of an instant cult classic.
  20. The movie's benumbed by its own parade of bad behavior. Like some of Scorsese's other second-tier works — "Casino," "Bringing Out the Dead" — the gulf between virtuoso technical facility and impoverished material cannot be bridged. It's diverting, sort of, to see DiCaprio doing lines off a stripper's posterior, but after the 90th time it's like, enough already with heinous capitalistic extremes.
  21. Like too many sports-related movies, this one falls back on that One Big Game, the final score that will set everything right.
    • 33 Metascore
    • 50 Critic Score
    Doesn't have much plot. It just sort of meanders around like a wildebeest playing Blind Man's Bluff.
    • Chicago Tribune
  22. The sum of all snores until the moviemakers start blowing up Baltimore halfway through. Then the special-effects people take over for about 20 breathless minutes.
  23. If Zeffirelli's Hamlet does resemble an actual movie at several points, it's thanks almost entirely to the inventive and atmospheric lighting of veteran cinematographer David Watkin, whose somber, gray-green palette gives the film a dignity and substance it would otherwise lack. [18 Jan 1991]
    • Chicago Tribune
  24. Purports to be literate film noir but comes off more like the overwritten project of a film school kid who just memorized his textbook on the style.
  25. Now and then the movie rouses itself to deliver. If you go to American Reunion - and many will, if they harbor fond memories of the first one, and if they can find a sitter - you should stay through the end credits.

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