Chicago Tribune's Scores

For 4,838 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 3.4 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Umberto D (re-release)
Lowest review score: 0 What Goes Up
Score distribution:
4838 movie reviews
  1. 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
  2. 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
  3. 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.
  4. It's the neediest movie of 2011, and one of the phoniest.
  5. Maybe if Mindel had focused more on his characters, less on the silly "noir" trickery, his film would do Garity justice. As it is, go find better work, kid.
  6. Diane Keaton--now there’s a trouper for you. She will not be caught giving less than 110 percent, even in a drab little heist comedy.
  7. Recycling the regressive humor of his (Sandler’s) previous films, it piles on so much sentimentality that you wonder how anyone could consider him a renegade. [25 June 1999, Friday, p.A]
    • Chicago Tribune
    • 41 Metascore
    • 38 Critic Score
    Almost comes as a breath of fresh air. Too bad it's so foul.
    • 41 Metascore
    • 25 Critic Score
    With a weak script, utterly unsympathetic characters and a nonsensical plot, it can barely keep plodding along.
  8. Without the brute vigilante junk, this 82-minute picture would be approximately 2 minutes long.
  9. It may entertain you if you don't mind senseless stories and screaming soundtracks.
  10. Serves up horrendous lead acting, murky cinematography, bland atmosphere, unengaging romance, mug-crazy cameo performances, bash-on-the-head satire and ill-timed slapstick gags that look like outtakes from a Bozo the Clown show gone berserk. [20 Oct 1995]
    • Chicago Tribune
  11. Were it not for young star Amanda Bynes' energetic good nature in the face of drab dialogue and wooden stereotypes, What a Girl Wants might have been a career-ending movie violation rather than just an embarrassing fender-bender.
  12. A half-silly, half-earnest indie with the soul of a John Hughes-era sex comedy.
  13. Arkin in particular can barely hide his lack of enthusiasm for the material. Some of the looks he shoots his co-stars appear to contain a secret code of some kind, deciphered as: 'Well, at least I'm in 'Argo.'"
  14. It's no better, no worse and essentially no different from the jocular, clodhopping brutality of the first one.
  15. Freshman Orientation is not incompetently made. Nor is it badly acted. But there’s not a fresh idea in it, and everyone on screen seems to be in a different comedy.
  16. I have a sneaking suspicion that Running Scared could become a cult classic.
  17. Verhoeven does not explore the dark side, but merely exploits it, and that makes all the difference in the world.
  18. As Vaughn's therapist mother, Sissy Spacek comes off best. But she's a rare bird of whom it truly can be said: She's always good. No matter how grim the material.
  19. Some film premises are so outlandish, so thinly worked out and so deep-down ridiculous that they wind up sinking the show -- and White Chicks collapses under a real doozy.
  20. A misjudgment from metallic head to titanium toe.
  21. Final Destination 3 is a gorefest that should either slake your worst appetites or drive you to the exits.
  22. The most excellent and lamentable tragedy Romeo and Juliet has been turned into a film that is lamentable without the "excellent" part.
    • 40 Metascore
    • 38 Critic Score
    Illegal Tender echoes "A History of Violence," another gritty film that explores escaping a criminal past. But the vast vapidity behind Illegal Tender's ill-conceived story line is far harder to overcome.
  23. X
    Could be the most overblown and confusing example of anime yet, as it piles one pretentious story element on top of another.
    • Chicago Tribune
  24. When a movie is structured around the unveiling of secrets, you ought to care what the answers are. But writer-director Adam Brooks (Almost You), never offers any compelling reason to do so.
    • Chicago Tribune
  25. The Boss has zero finesse as a comedy.
  26. As robust and clever an actor as Cox is, he can't make Jacques any less of a blowhard; Kari's wit simply doesn't come through in English, at least with this script.
  27. But folks, this is a lousy script, blobby like the endlessly beheaded minions of the squad's chief adversary. It's not satisfying storytelling; the flashbacks roll in and out, explaining either too much or too little, and the action may be violent but it's not interesting.

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