Chicago Tribune's Scores

For 4,407 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 3.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 A Serious Man
Lowest review score: 0 What Goes Up
Score distribution:
4,407 movie reviews
    • 54 Metascore
    • 38 Critic Score
    The TV episodes invariably embed a character or a bit of dialogue in your brain that you continuously describe or repeat to your friends. No such find in the movie, though the offbeat soundtrack is very gettable.
  1. Tries hard to be sweet but plays like "Pollyanna" with fleas.
  2. Evil isn't this boring.
  3. Ritchie, who shoots and cuts everything in RocknRolla like an ad for a particularly greasy brand of fragrance for men, delivers the beatings and killings in his trademark atmosphere of morally weightless flash.
  4. Only the architecturally refined bone structure of Kristin Scott Thomas' face rescues Keeping Mum from full-on tedium.
  5. This is a fantasy grab bag in which nearly anything can happen.
  6. It's hard to believe how bad this movie is.
  7. Anytime Jaa isn't on screen, The Protector sputters.
  8. Nostalgia has no real point to make here. All that Famuyiwa can hope to accomplish is to tell his story well. In this area he is less than competent.
  9. Black Snake Moan strikes me as hogwash. It fundamentally does not work; its consciously far-fetched, out-there notions of the things damaged people do in the name of love are reductive and go only so far. It's as if the premise were tethered to a radiator or something.
  10. A gaudy yet grim science-fiction horror movie of such surpassing silliness, humorless intensity and stylistic overkill that watching it may actually put you in a state of paranoia.
  11. 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.
  12. The ratings board gets all twisted up about sex and skin, yet it cannot give you or your kids enough ax blades to the cranium. This week's evidence: the remake of the old Wes Craven horror item, The Hills Have Eyes, which should not be rated R. It should be rated NC-17, or ITTS-OW, which stands for Is This Thing Sadistic, Or What?
    • 52 Metascore
    • 38 Critic Score
    Absurdly unrealistic at times.
  13. Laughing at the freaks and then feeling bad about it is the sole reason for the existence of this pale little film.
    • 52 Metascore
    • 38 Critic Score
    It's almost always rewarding to watch an underdog triumph--what else could explain why movies exactly like this keep being made?--but Longshots is one underdog that's hard to love and harder still to champion.
  14. Boasts one moment, perhaps three or four seconds in length, so delightfully intense and uncharacteristically juicy that the rest of the film - most of the rest of the whole series, in fact - looks pretty pale by comparison. Not vampire pale. Paler.
  15. 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.
    • 52 Metascore
    • 25 Critic Score
    There are flashes of grim humor interspersed with the murders, but not enough wit to elevate this movie beyond its primary identity: grisly revenge fantasy.
  16. The Producers on screen, as a musical, does not work. It is not very funny. It doesn't look right. It's depressing.
  17. It sounds like standard Cinderella stuff (and the script comes complete with plenty of allusions to princesses in towers), but it's played here with an emphasis on possessions and possessing that borders on the obscene… It's a pretty ugly movie. [23 Mar 1990, Friday, p.C]
  18. Lapica isn't yet enough of a writer or director (or an actor) to make the dramatic arc unpredictable in any way. It may be effective for some as therapy. It is far less so as cinematic storytelling.
  19. The pathos really are shameless, arriving with killing regularity and false humility.
  20. A contemporary teen summer romance with a modern sexual twist--though in many ways, it's just the same old malarkey.
  21. Now that Smith has gotten these characters and jokes out of his system, here's hoping he can turn to material that doesn't require winking at the audience.
  22. A movie as unsubtle as its title suggests, Fear is too seriously intended to work as trash and too ungainly and ugly to register as entertainment. [15 Apr 1996]
  23. It's all very "Scarface"--the De Palma remake of "Scarface," not the Hawks original. In other words, it doesn't feel modern at all. It feels about a generation late and 400 years short.
  24. The kind of fascinatingly bad film only a really gifted and fearless moviemaker could make: a 92-minute long raggedy-raunchy vision of sex, transit and alienation in which Gallo focuses on himself so obsessively, it's as if he'd become his own stalker.
  25. The Favor is a sex comedy without sex-and pretty much without comedy. [29 Apr 1994]
  26. Aiming for a piece with the raw impact of "Precious," on which he served as executive producer, he (Perry) ends up with 134 minutes of misjudged intensity.

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