Chicago Tribune's Scores

For 4,348 reviews, this publication has graded:
  • 64% higher than the average critic
  • 2% same as the average critic
  • 34% lower than the average critic
On average, this publication grades 4.6 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 O Brother, Where Art Thou?
Lowest review score: 0 Love Stinks
Score distribution:
4,348 movie reviews
  1. Easy Virtue may be a bauble, as Larita's described at one point, but Coward's examination of hypocrisy demands real skill. The style should suggest "whipped cream with knives," as Stephen Sondheim once described "A Little Night Music." Elliott's film is more like curdled milk with a spork.
  2. Squanders a decent comic premise.
  3. The exhausting slapstick violence is the film's chief variation, and it's no fun at all.
  4. A stupid, stylized road picture. [10 Sept 1993]
  5. 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]
    • 57 Metascore
    • 25 Critic Score
    It’s hard to believe that a lineup so stellar could generate so few laughs, but there it is.
  6. It's a serious drag to see how Ritchie has turned Holmes and Dr. Watson into a couple of garden-variety thugs.
  7. It's reductive, insanely violent slapstick, but that's the phenomenon in a nutshell.
  8. John Waters is back with this awfully bawdy, never sexy, rarely funny, actually boring, one-note sex comedy.
  9. Falling Down is an intellectually sloppy, rebellious working-man adventure film that is little more than a set piece for Michael Douglas playing out a revenge-of-the-nerds fantasy. [26 Feb 1993, p.C]
    • 56 Metascore
    • 25 Critic Score
    It's just a watery, undeservedly smug update of the low-budget, kids-stranded-in-the-sticks bloodfests of the 1970s and '80s.
  10. The appeal of the film version, such as it is, relates almost entirely to eye-for-an-eye, severed-limb-for-a-limb vengeance, two hours and 41 minutes of it, with just enough solemnity to make anyone who thought "The Dark Knight" was a little gassy think twice about which superhero myth THEY'RE calling gassy.
  11. I won't pretend there aren't moments of sweetness here--there are, aplenty. But the promise of true emotion goes bust with bad acting, cheap writing and false sentiment.
  12. 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.
  13. It's tough to get on board with these monsters. They don't get the banter they--or we--deserve, and the screenwriters lean on wearying stereotypes.
  14. Yes
    This is the kind of movie that nice people call ambitious. Let's just leave it at that.
  15. This is "Fight Club" without the irony or the metaphysical gaming.
  16. there's no joy in this movie. It's a safe, compromised, even preachy, fable; a wannabe hip romp that never gets going. [07 Jul 1995]
  17. The tragedy is that the performance comes to nothing. Nearly everything else in the film is vile.
  18. Commits the cardinal sin of all bad IMAX films: It favors visuals over narrative, glitter over substance.
  19. Jakes' characters are points to be made, flesh and blood cautionary tales that don't particularly feel human. His dialogue, even in the mouths of Michelle and her troubled mother, sounds as if it comes straight from the pulpit.
  20. Stiller, a DodgeBall producer, is revealing an unfortunate craving for the cheese of his childhood.
    • 55 Metascore
    • 38 Critic Score
    Degenerates into a slow-moving game of connect-the-gross-outs.
  21. The movie is never more than the sum of its scattershot jokes; it's sloppily put together, with scenes seemingly cut mid-dialogue.
  22. Even overlooking the fundamental inanity of the movie, one is left to contend with some offensive racial stereotyping.
    • 54 Metascore
    • 25 Critic Score
    Are teenagers really supposed to identify with a clumsy caricature such as Charlie, who, in spite of all his expulsions and school crimes, comes across as a gawping, perpetually surprised infant in an adult body?
  23. Gere and Binoche are both terribly miscast--one far too charismatic, the other far too dowdy, which is something for Juliette Binoche. And the spelling bees? Dull. Dreary.
  24. It's a screen adaptation of Busch's stage play of the same name, which never really went anywhere after its 1999 Los Angeles debut -- and doesn't go anywhere here.
  25. Here and there, in the father/son scenes, you see a glimmer of an honest interaction. All in all, I'd rather watch a "Ned's Declassified School Survival Guide" rerun.
  26. Limps along on a squirm-inducing fish-out-of-water formula that goes nowhere and goes there very, very slowly.

Top Trailers