Chicago Tribune's Scores

For 4,661 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 The Exorcist [re-release]
Lowest review score: 0 What Goes Up
Score distribution:
4661 movie reviews
  1. Though the movie is pretty stereotypical and sometimes crude, it also has a sweet laid-back temper. It has amusing moments.
  2. At one point Rourke delivers a monologue about his time in Bosnia, and the conviction the actor brings to the occasion throws the movie completely out of whack. What's actual acting doing in a movie like this?
    • 36 Metascore
    • 50 Critic Score
    A muddy, dreamlike Portuguese offering.
  3. May try to revive the eerie spirit of the Gothic novel, but, unless you're suffering from amnesia yourself, it probably won't surprise or thrill you.
  4. Screen chemistry between two individuals isn't really a pass/fail proposition. There are degrees involved. But let's pretend otherwise and say yes, Smith and Robbie pass, barely, with less than flying colors and in a pretty dull movie.
  5. Duchovny and Moore have their moments; they're like two preening sharks working on commission.
  6. The main problem with the movie is the by now shopworn nature of its setting. Been there, snipped it. Though dating from venerable material, The Salon turns out to be one haircut too many.
  7. Just a vehicle for Carrey to do his hyperactive shtick. He has some entertaining bits, such as his rain-drenched meltdown in which he victimizes some stunned innocents, but he’s working so strenuously that at times he’s hard to watch.
  8. Bold, experimental, off-the-wall kicky and utterly exasperating.
  9. All in all? A curious preachment yarn for peace, one which makes you wonder if the filmmakers couldn't wait to get to the climactic aerial dogfights.
  10. Walken is an odd choice for a D.C. power player, wasting his creepiness on this straight, respectable role.
  11. Seyfried's a good actress, but all the art direction in the world can't make this version of events the stuff either of dreams or of nightmares.
  12. Even with Levy and O'Hara and Shandling adding what they can, you can only enjoy the voices behind the critters so much when the images fall so short.
  13. Lawrence and Zahn generate enough comic tension and mayhem to jump-start this mass of action-comedy cliches into a fairly amusing show.
  14. As much as the film may try to peddle warmth and solidarity, it remains disturbingly cold and impersonal, limited by the formulaic writing of Bob Tzudiker and Noni White and stymied by Ortega's apparent distance from his cast. [10 Apr 1992]
    • Chicago Tribune
  15. Too much of the contrasting comedy in Nanny McPhee Returns is shrill, laden with routine computer-generated effects and pounded into dust by James Newton Howard's shut-up-already musical score.
  16. Strives to be nothing more than easygoing and heartwarming.
  17. Remains watchable when it's not hitting you like a baseball bat with poignancy. But by the time you've endured all of the shamelessly manipulative plot turns and heart-yanking speeches that close out the movie, all you can do is cry foul.
  18. A surer hand behind the camera might’ve finessed the jokes more effectively, or established a consistent and satisfying tone.
    • 40 Metascore
    • 50 Critic Score
    I never lost awareness that I was watching actors speaking lines, not real people --a problem I didn't have in the more unreal "Life Is Beautiful."
  19. Disclosure is pure and simple trash masquerading as significance. [9 Dec 1994, p.B]
    • Chicago Tribune
  20. A dramatic true story has been made into a diffident biopic.
  21. The cast is not the limitation here. The limitation, and I found it to be a drag on this aggressively audience-pleasing indie, relates directly to its premise.
  22. Hysteria, however skillfully maintained, should never be mistaken for art-a caution that applies equally to Stone and his subject. [01 Mar 1991]
    • Chicago Tribune
  23. In his thoughtfully paced, well-acted film, Hoge doesn't set out to solve the "why" of Leland's ghastly crime. He's more interested in examining the reason why society needs to create and interpret a reason for horror.
  24. Why Paltrow, who was accepting a best actress Oscar four years ago, would take this clumsily written role is anyone's guess.
  25. Dumb film; smart comedienne.
  26. 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.)
  27. It's fairly entertaining--but not the second coming of indie comedy some notices might lead you to expect.
  28. 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.

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