Chicago Tribune's Scores

For 4,589 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 3.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Toy Story 2
Lowest review score: 0 Sucker Punch
Score distribution:
4,589 movie reviews
  1. A well-intentioned, ill-conceived blip of a movie that just happens to star two of the most esteemed actors of our time--Michael Caine and Christopher Walken.
  2. The idea may sound like fun, but the movie isn't. It's a travesty of a picture that's a disgrace to the memory of the great film from which it's remade. [5 February 1999, Friday, po.A]
    • Chicago Tribune
  3. If actors this good cannot overcome their material, then we can only say: Tom Hanks, Sandra Bullock … Max von Sydow, Zoe Caldwell, Viola Davis, Jeffrey Wright, John Goodman… thanks for your honest efforts in the service of a fundamentally dishonest weepie.
    • 46 Metascore
    • 38 Critic Score
    A cutesy, heavy-handed morality tale that contains nary a believable moment.
    • Chicago Tribune
  4. Knoxville, Jed Rees and Bill Chott act daffy and more impaired than their counterparts, and that never sat right with me. This may not be the equivalent of acting in blackface, but it's awfully close.
  5. If it weren't for Kate Lyn Sheil, who has a couple of scenes as a blase Brooklyn waitress inexplicably ending up in the protagonist's bed, 'The Comedy' might well have qualified as the worst film of 2012.
  6. You live in a free country, you put up with crud like Hostel Part II. It truly is crud, though.
  7. If you are misguided or otherwise unfortunate enough to see Forces of Nature, you will find yourself the next day with but one image, one memory, in your head: Sandra Bullock's teeth. [19 March 1999, Friday, p.A]
    • Chicago Tribune
  8. It stars Tom Hanks in his first genuinely dull screen performance.
  9. CJ7
    CJ7 is roughly as grating as that “Flubber” remake.
  10. Against "Whale Rider's" well-acted, intimate story, Gordon's film feels like an endless spiral of sub-par soap-opera acting, mired in trite, predictable dialogue.
  11. A lot of the rougher stuff, depicting Ig's late-inning vengeance, is sadistically misjudged. It's hard to jerk tears a beat or two after gleeful rounds of brutality, even if it happens to, or because of, dear wee Daniel Radcliffe.
  12. Sweet-tempered but superficial.
  13. Knight and Day may well suffice for audiences desperate for the bankable paradox known as the predictable surprise, and willing to overlook a galumphing mediocrity in order to concentrate on matters of dentistry.
  14. Brooks' own timing as a director doesn't seem up to its usual snuff. Light-years stretch out between the set-up of a gag and its payoff, and for a director who has always depended on the quantity of his jokes rather than the quality, the gap is fatal. When a character is introduced as "Pizza the Hut," and then shown as a melting mass of mozzarella and tomato sauce, the result is to turn a fairly clever pun into something thuddingly obvious and vaguely nauseating. [24 Jun 1987, p.3]
    • Chicago Tribune
  15. What a disappointment Weird Science is! A wonderful writer-director has taken a cute idea about two teenage Dr. Frankensteins creating a perfect woman by computer and turned it into a vulgar, mindless, special-effects-cluttered wasteland.
    • 46 Metascore
    • 38 Critic Score
    There is a great, even revolutionary movie to be made about pharmaceutical companies in America. Side Effects is definitely not it.
  16. Monaghan’s comic timing saves this go-nowhere affair from 100 percent lousiness.
  17. Although Banderas occasionally shows flashes of style, individual elements too often go together like grits in a puff pastry.
  18. Offers two or three worthwhile laughs.
  19. It's Bay World. And after an hour of Pain & Gain, it felt more like "Pain & Pain."
  20. It's miscast, barely functional in terms of technique, stupid and unnecessary. Other than that….
  21. Black or White may not be racist, exactly, but it patronizes its African-American characters up, down and sideways, and audiences of every ethnicity, background, hue and predilection can find something to dislike.
  22. Just withers compared with many older, better movies about teen alienation and nihilism, from "Rebel Without a Cause" to "River's Edge."
    • Chicago Tribune
  23. The upside is that they're likable and play well together...The downside is that they're all still communicating roughly the same message, which lies somewhere between a wink and a nudge.
  24. Not funny because it's not true.
  25. A childish and visually repetitive movie, ham-fisted, proselytizing and overtly simplified.
    • 45 Metascore
    • 25 Critic Score
    Morgan Spurlock is a living, breathing cautionary tale. Take a good, long look, kids: This is what happens when society validates really annoying people.
  26. Reveals a flash or two of real filmmaking (mostly in a suggestively grotesque birthing sequence), enough to save it from pure lousiness.
  27. How big a bastard can Woody Allen build a screenplay around and still generate a modicum of audience goodwill? The answer: not this big.

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