Chicago Tribune's Scores

For 4,959 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 3.1 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Badlands
Lowest review score: 0 That's My Boy
Score distribution:
4959 movie reviews
    • 52 Metascore
    • 50 Critic Score
    A micro-indie passport party that, while well-intentioned, evokes the same feelings that have been known to arise from being subjected to your friends' vacation movies.
  1. Isn't good satire or good slapstick. It does have those lyrical, catchy Menken tunes, and the film perks up whenever Raitt or lang sing one of them. But much of this movie is deadly.
  2. While Reyes seeks his own ambitious style, he can't quite step out from under De Palma's shadow and thematic choices. Everything from the voiceover narration to the final frame in Empire looks and feels like a low-budget hybrid of "Scarface" or "Carlito's Way."
  3. Irwin Winkler's The Net, which should have worked a lot better than it does, is a glossy, intricately plotted, mostly implausible suspense movie about a woman on the run.
    • 58 Metascore
    • 50 Critic Score
    The sad thing is, even for NASA/space fans, a snooze isn't out of the question despite the film's scant 40-minute running time.
  4. G.I. Joe may not be beefier, but it’s cheesier and less aggravating than "Transformers: Revenge of the Fallen," the summer ’09 headbanger it most resembles.
  5. The relative success or failure of Adult Beginners, directed with a steady, nonjudgmental hand by Ross Katz, depends on how funny you find Kroll. I find him funny-ish.
  6. Neat and tidy and well-mannered and dull, and not even Colin Firth and Jude Law and Laura Linney and Nicole Kidman and some very sharp fedoras can enliven it.
  7. xXx
    Suit #3: But what will we call the sequel? Suit #1: "XXXX"? Suit #2: Brilliant!
    • 61 Metascore
    • 50 Critic Score
    Patronizing and predictable where E.B. White's episodic 1945 book...is odd and open-ended.
  8. Unfortunately, after watching Paycheck, you may wish you had the picture's gimmickry at your disposal, so you could erase your own memory of it.
    • 41 Metascore
    • 50 Critic Score
    Until it jumps the tracks into self-righteousness, though, Knowing, directed by Alex Proyas, can also be as unnerving as the best episodes of "The Twilight Zone."
  9. Crowe's feature directorial debut, The Water Diviner, stems from an honest impulse to dramatize ordinary people who honor their dead. Yet the results are narratively dishonest and emotionally a little cheap.
  10. It's a two-hour lesson in how to act like a frenemy to your alleged friends. And it's not funny enough.
  11. Shallow though it may be, is a breakthrough.
  12. It's all pretty dumb, but if you're in the mood for this sort of thing, you won't have a bad time. [9 April 1999, Friday, p.F]
    • Chicago Tribune
  13. A ravishing crock. Like its title character, a computer-generated movie star programmed to resemble a cross between Grace Kelly, Audrey Hepburn, Lauren Bacall and Kim Basinger, it's beautiful but empty, gorgeous but spurious.
  14. Steven Soderbergh's Kafka is a surprisingly cold, gray and flavorless follow-up to "sex, lies and videotape." [7 Feb. 1992]
    • Chicago Tribune
  15. What are they trying to accomplish and is this really the best way to accomplish it?
    • 69 Metascore
    • 50 Critic Score
    Proves a less-than-satisfying examination of the country singer's art, career and demons.
  16. Much of this movie seems a crock.
    • Chicago Tribune
  17. Burton's never been especially good at finding the internal motor or the rhythmic drive within a scene. This, I think, is why Miss Peregrine stalls, again and again, while the bird woman or Samuel L. Jackson's pointy-toothed, fright-wigged Barron tells us what's up with what we just saw, and what'll happen next.
  18. The best thing about this self-mocking affair, which runs a leisurely two-plus hours and affords plenty of time for an insane body count, is Antonio Banderas' manic gusto in the role of a gabby mercenary.
  19. It is passable comic book stuff, dumb and loud. Loud. LOUD.
  20. The Hateful Eight is an ultrawide bore.
  21. Why isn’t the film better? Guggenheim doesn’t seem to have prodded his subjects in any interesting directions.
  22. Despite a few high-spirited sequences, School Daze succumbs to preachiness and choppiness. It's a movie with too much to say and not enough style to say it with. [12 Feb 1988, p.0]
    • Chicago Tribune
  23. Part Oscar bid, part vanity project and all pretty silly. Only Nick Nolte, as Tom Wingo, the psychologically blocked Southern high school teacher who is Conroy's protagonist, transcends the circumstances to deliver a performance of skill and commanding sympathy.
  24. The sequel is a disappointing step down, and backward.
  25. It's not a lousy experience. Taylor Swift shows up in a glorified cameo. Thwaites has promise; Rush has more than that. But for a movie decrying the concept of societal "sameness," The Giver is a hypocritical movie indeed.

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