Chicago Tribune's Scores

For 4,634 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 About Schmidt
Lowest review score: 0 Love Stinks
Score distribution:
4,634 movie reviews
  1. Why Paltrow, who was accepting a best actress Oscar four years ago, would take this clumsily written role is anyone's guess.
  2. Dumb film; smart comedienne.
  3. The movie’s partially redeemed by Seyfried, who makes her character more than a repository for audience sympathy. (Her make-out scene with Fox is handled with more suspense and care than anything else in the movie.)
  4. It's fairly entertaining--but not the second coming of indie comedy some notices might lead you to expect.
  5. Outside the bedroom, the wartime swirl of intrigue never develops beyond postcard imagery, however. This is one of the major disappointments of the film-going year.
  6. Only resonates when he (Brooks) strips it all away and focuses on parent and child.
  7. Director John Wells dices the action, even the simplest conversation, into five harried shots when one would suffice. The many food-prep montages are cut and paced to the same numbing rhythm.
  8. Just doesn't have the same zing.
  9. Too-loud, poorly directed and seriously overedited.
    • Chicago Tribune
  10. It's not a difficult picture to watch. All you want from A Walk in the Woods, honestly, is a chance to enjoy a couple of veteran actors. But the book's comic tone hasn't found a comfortable equivalent for the screen.
  11. The story is both a muddle and a drag.
  12. Does have heart and enthusiasm. But it might have worked better if it had been glitzed up and energized the way "Fame" was. It's not a script that can survive this kind of minimal, earnest, self-congratulatory treatment.
  13. A shiny bauble full of dead weight, gloppy good feeling and airless cliches. And every time you try to grab onto "Bride's" characters, they run away. [30 July 1999]
    • Chicago Tribune
  14. Downright scary in some places, Godsend might be more potent if it wasn't watered down by religious trope predictability.
  15. Some of its parts are nifty, but the sum of these parts is nothing.
  16. It's the big stuff that doesn't really work, at least well enough to be called special.
  17. Trust seems ultimately a matter of touches-some cute, some surprising, some even fairly expressive, but none more than superficial. [16 Aug 1991]
    • Chicago Tribune
  18. Allen is obsessed with the notion of getting away with murder, mulling over which personalities can shoulder the psychological burden of killing without remorse, while others crumble under the pressure. The problem is, you don’t feel the human sweat and strain in Cassandra’s Dream, despite game work from Farrell and McGregor.
  19. Church is most at home in his character’s skin; aside from the game but strident Quaid, all the leading players are ideally cast. It’s the script that isn’t ideally cast.
  20. Minimalism be damned; even a postmodern noir needs more than Minus Man gives us. So do the actors.
  21. To say The Paperboy doesn't work is one thing; to say it's dull is a lie. This movie is berserk, which is more interesting than "eh."
  22. Clean, precise and terribly sullen, After.Life is like its female protagonist. It feels stuck between worlds, or genres.
  23. By today's standards, it is only medium-bloody, though it's more than usually grim, its young protagonists sullen enough to qualify for the "Twilight" movies. Yet it affords precious little sadistic pleasure, partly because it "dares" to lay out more directly the pedophiliac demons plaguing Freddy the serial killer.
  24. Much as I enjoy the actors I didn't buy a word or frame of Arthur Newman.
  25. It's hollow.
  26. This genuinely ambitious and accomplished Chicago production does have strong points, not the least of which is Lana herself. When the fiery, emotionally transparent Orlenko lets her talent and presence pour down on Lana's Rain, the movie springs to life.
  27. The movie wants it both ways: bloodthirsty revenge and some finger-wagging about the tactics.
  28. Never calms down for a second. It's the visual equivalent of the "Sabre Dance," and its only oxygen comes from the actors, who are quite good.
  29. The film feels dodgy, tentative and uncertain as to how to frame its own protagonist in a complicated story of journalistic compromise (and worse).
  30. Routine cinema but rich history.

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