Chicago Tribune's Scores

For 4,957 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 The Hurricane
Lowest review score: 0 A Good Old Fashioned Orgy
Score distribution:
4957 movie reviews
    • 48 Metascore
    • 50 Critic Score
    It's no accident that the credits for the movie are a Who's Who of dance movie alumni: Director Anne Fletcher choreographed "Bring It On"; screenwriter Duane Adler penned "Save The Last Dance"; and the movie was photographed by Michael Seresin, who shot "Fame."
  1. A thriller of passive virtues, the steely intensity of Jodie Foster notwithstanding. It's not too violent. It's not assaultive. Even James Horner's music plays it cool.
  2. It's not as if Stone is above this sort of pulp. But as rejiggered for the movies, Savages has trouble making us care what happens to the beautiful people - the untouchables - at the center of the sun-baked fairy tale.
  3. The shadow of Gena Rowlands looms over this picture like a cinematic eclipse. [25 January 1999, Tempo, p.5]
    • Chicago Tribune
  4. Writer-director Billy Ray's Americanized redux isn't a disaster, exactly; it keeps its head down and does its job. But nothing quite gels, or clicks, or makes itself at home in its adopted setting.
  5. Savage Grace comes up bland and seems to go nowhere in particular.
  6. This debut picture never makes up its mind about what sort of comedy it wants to be. But at least it has one--a mind, that is.
  7. Without a strong narrative engine, Upside Down ends up exactly where it shouldn't go: sideways.
  8. Lasseter's sequel smooshes the vehicular ensemble of the first "Cars" into a nefarious James Bond universe, heavy on the missiles and ray guns and Gatling guns and electrocutions. Sound peculiar? It is peculiar.
  9. But even with the great good efforts of Wallis, the results, to some of us, betray a distrustworthy slickness reminiscent of a British Petroleum oil spill clean-up commercial.
  10. Juvenile viewers may well benefit from the movie. But, for the adult, it’s ultimately a film that arrives too early for the season in its title and too late in terms of style and impact.
    • 35 Metascore
    • 50 Critic Score
    The sense that the movie serves mostly to showcase a slew of purchasable cartoon figures loses nothing in the translation.
  11. Like Ice Cube's "Friday," How High probably will survive as an underground classic, until it's pushed further underground and forgotten by the next disposable "cult classic" to hit video.
  12. There's nothing classic about Surviving Eden, even if it is better than reality TV.
  13. Ruthlessly skilled as Atkinson is, the Bean persona of generic, maniacally grinning ineptitude owes most of its appeal to seeing just how far an actor can pull a face without pulling a muscle.
  14. With a less pedigreed international cast the whole thing would be a disaster, as opposed to a chilly new kind of disaster film.
    • 21 Metascore
    • 50 Critic Score
    Has to explain itself through so much of the film that there's just not much film left.
    • Chicago Tribune
    • 49 Metascore
    • 50 Critic Score
    The plot, though of the made-for-TV ilk, makes for good discussion fodder if you're trying to impress life's lessons on children or others you love. That said, be prepared to be hit over the head by the message, edifying as it is.
  15. We're snowed by a great deal of intersecting and crisscrossing information in The Fifth Estate, and Singer's script lacks organizational skills. I can relate. But that doesn't make parsing this busy film, or — crucially — its true, contradictory feelings about Assange any easier.
  16. Any serious message has been sacrificed on the altar of excess, making us realize why the stylish story probably worked better as a graphic comic book than as a film.
  17. An insubstantial addition to the cycle. It looks cheap and feels slapped together.
  18. Plays so flat, so to close its "movie message" formula, that it seems as if we've seen this movie before.
    • 44 Metascore
    • 50 Critic Score
    If Steve Martin (“Cheaper by the Dozen”) and Eddie Murphy (“Daddy Day Care”) can’t make these PG-rated assembly-line comedies any fun, what chance does The Rock have?
  19. Though Ball's workmanlike handling of the second in the trilogy, "The Scorch Trials," proves mainly that he can keep a franchise from running completely off the rails when the tracks have been laid perilously near a swamp of "dys-lit" cliches.
  20. Boys N the Hood wants to be “The Learning Tree'' and “Super Fly'' at once, an ambition that doesn't seem quite honest. [12 July 1991]
    • Chicago Tribune
  21. The problem is that one can't help but think of better, more interesting movies based on this premise.
  22. An adequate horror movie for the Halloween season, but it too easily sinks into haunted-house-film conventions, even if the haunted house is decked out as an Italian luxury liner.
    • 67 Metascore
    • 50 Critic Score
    Though The Ninth Day longs for a grander scope, it never lifts much beyond Kremer's personal dilemma.
  23. Ted
    You can find this clever, or you can find it lazy, and this is why MacFarlane is the biggest mixed blessing in contemporary TV comedy: He is both.
  24. The film isn't terrible; Vaughn, Pratt and, as David's frustrated girlfriend, Cobie Smulders know what they're doing in terms of finessing the material for laughs as well as the h-word. But it's all sort of unseemly.

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