Chicago Tribune's Scores

For 4,660 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 3.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Trainspotting
Lowest review score: 0 Cradle 2 the Grave
Score distribution:
4660 movie reviews
  1. When Jason Sudeikis and Ed Helms appear in the same movie there's a significant threat of clean-cut sameness. Mediocre material makes them like two halves of the same comic actor: Ed Jason Helms-Sudeikis.
  2. Hangover II is more like a spitball meeting, a series of ideas that might, in theory, be good enough for a sequel, than it is an actual movie.
  3. I found it bizarre and limp and all over the place and not in a good, messy, lifelike way.
  4. The movie itself is hyperactive and a jumble.
  5. Schreiber and Stiles are good actors, and they're actually acting, if not to any actual avail. In the silliest recasting, a comically exaggerated Mia Farrow takes over for steely Billie Whitelaw in the evil nanny role.
  6. A preposterous screwball psychological drama.
    • 43 Metascore
    • 25 Critic Score
    This film should have clocked in at 90 minutes, tops, rather than almost two hours. A good, healthy scissor-snipping might have allowed some of its quirkier aspects (like the use of a stun gun and a jaw-dropping lab result) to stand out more.
  7. A mild and static attempt at sincere camp.
  8. A dull, amateurish mixture of the sentimental and the obvious.
    • 43 Metascore
    • 25 Critic Score
    Viewers who don’t flee the intrusively uplifting soundtrack and choking sentiment get just what that opening promised: a by-the-numbers, based-in-reality inspirational sports movie, thick with overwhelming pride and nostalgia for small-town farmland America.
    • 43 Metascore
    • 25 Critic Score
    There is nothing to redeem this movie, and no real reason to see it.
  9. The crass sentimentality of American Wedding increasingly fits Norman Mailer's definition: "the emotional promiscuity of the basically unemotional." The jokes are unemotional, uncouth and mostly unfunny.
  10. If the writers had the guts (and the jokes) to fashion a bittersweet comedy with a fully earned happy ending, Unaccompanied Minors probably wouldn't have been made. As is, it's a prefab slapstick-'n'-pathos stew that doesn't taste like anything.
  11. The events of the movie may be a little bit true, or a lot, but hardly any of it plays that way.
  12. In this bizarre tale of man among the apes and a psychiatrist among madmen -- an over-emotional hybrid of "Gorillas in the Mist" and "One Flew Over the Cuckoo's Nest" -- style buries substance.
  13. Aaron Russo's America: Freedom to Fascism can't even think straight, it's so mad.
  14. Fairly well done but deadly dull futuristic thriller.
  15. G
    Cherot shot G on a tight schedule, but instead of this age-old indie predicament generating a certain scrappy passion, the film just looks cheap.
  16. This low-budget comedy will most likely try the patience of a paying audience with its uneven pacing, wavering tone and poor production quality.
  17. If "American Beauty" were a bland comedy, it would be Joe Somebody.
  18. Davis, in particular, manages to create a fully dimensional character in the midst of a highly polemical screenplay.
    • 42 Metascore
    • 25 Critic Score
    From my vantage point, it doesn't include a single laugh.
  19. The sequel is about nothing more profound than an awkward teenager's desire for a really cute boyfriend. [12 March 1999, Friday, p.N]
    • Chicago Tribune
  20. A work of ineffable soullessness and persistent moral idiocy.
  21. The film is perfectly mediocre, which is heartbreaking, not heartwarming.
  22. Take Me Home Tonight, believe me, you've already seen.
  23. With The Loss of Sexual Innocence, director Mike Figgis reaches an almost comical low in the pursuit of what appears to be a desperate need to express deeper, uh, depth. Figgis' deliberate obfuscation may delight him, but it leaves the viewer mystified and bitter. [18 Jun 1999]
    • Chicago Tribune
  24. The Nome King looks like a moveable Mt. St. Helens and he alone is magical. In fact, he blows Dorothy and her tacky-looking friends off the screen. So we end up liking the Nome King and hating Dorothy and her crowd, which I doubt was the intention of the L. Frank Baum series. [21 Jun 1985, p.1]
    • Chicago Tribune
  25. Hutcherson spits his lines out as quickly as possible, which you appreciate, because the way the likable Johnson wrestles with his lines ("It looks like the liquefaction has tripled overnight!") you think, well, it's a living.
  26. It's the neediest movie of 2011, and one of the phoniest.

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