Chicago Tribune's Scores

For 4,852 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 3.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Nixon
Lowest review score: 0 Did You Hear About the Morgans?
Score distribution:
4852 movie reviews
  1. Oblivion is odder and less conventional than your average forgettable star vehicle; at times it feels like a five-character play taking place in a digital-effects lab. But there's not much energy to it.
    • 47 Metascore
    • 50 Critic Score
    The film, for all its pretensions of revelatory, life-altering enlightenment, is actually about as deep as a wading pool, as substantive as cotton candy.
  2. Beautiful, horrifying, exasperating and just plain weird.
  3. There's too much hardware, too little sense. Too much blood, too little flesh. Too much program, too little mind. That's the virus of the contemporary movie techno-thriller.
  4. Evil Dead offers the core audience for modern horror plenty of reasons to jump, and then settle back, tensely, while awaiting the next idiotic trip down to the cellar beneath the demon-infested cabin in the woods.
  5. At every turn Cote d'Azur settles for tidy, tinny resolutions to seismic family crises--yet, with a message of tolerance and its heart on its sleeve, the film is certainly tolerable in a summer rental-by-the-sea sort of way.
  6. Swanberg may be one of the few American filmmakers who'd benefit from reading one of those "10 Rules for Mediocre Hollywood Screenwriting" how-to books. Many find a kind of truth and life and rough domestic magic in his films. Here and there, now and then, I see what they're talking about.
  7. What's the point of telling Jesse Owens' story if you don't get into what made him tick, and drove his success as an athlete?
  8. A massive and rather tiring showcase for Bollywood action hero Akshay Kumar.
  9. Extraordinarily raunchy, occasionally funny.
  10. I admit I would've had a hard time getting through it without the help of Simmons and Addai-Robinson, over there in the B plot. The character at the center of the story is treated with respect and admiration, but in dramatic terms he's about as real-world plausible as Batman.
  11. When everything and anything is possible, nothing feels urgent or truly dramatic. The movie devolves into a melange of digital effects and sequences of glamorous slaughter, as Lucy swaggers around, with that big brain, and slouches toward becoming a full-lipped deity.
  12. Stolen Summer is no disaster, though. It's merely one more misfire fortunate enough to attract actors like Bonnie Hunt and Aidan Quinn, who almost make it work.
  13. The pathos: considerable. The sight gags, involving Crystal puking chili dog on a kid's face, or the grandson with an imaginary friend peeing and causing an X Games skateboarder to wipe out: artless. The results: tolerably amusing.
  14. The emotions and crises feel pre-sanded, smooth to the point of blandness.
    • 42 Metascore
    • 50 Critic Score
    The arrival of Ra (Jaye Davidson), bearing sci-fi cliches, changes Stargate from a merely hokey movie to one that is truly ridiculous.
  15. Works so well for the first 40 minutes or so, that when the bottom falls out of it, I felt more than disappointed. I felt betrayed.
  16. Enough with the snatching, already.
  17. The entire film is poorly lit, and the melancholy music, much of it from the wonderful Wilco spin-off band Autumn Defense, gives us the sense that things are getting heavy. But in the end, we observe more than feel.
  18. More an uninspired letdown than a flabbergasting turkey... One reason for this lack of bite lies in the werewolves themselves. They're a bit too teddy-bearish, even oddly cuddly, and the fright scenes work better when you don't see much of them.
  19. An expensive-looking new detective thriller that should have been much better.
  20. Billy's burning, self-destructive energy is about all Young Guns has going for it-the suicidal kicks James Dean found in chickie races are here transposed to six-gun shoot-outs, filmed in a slow-motion process that strives vainly to evoke Sam Peckinpah. [12 Aug 1988, p.H]
    • Chicago Tribune
    • 54 Metascore
    • 50 Critic Score
    The idea that rich people are an alien tribe is just one of many that get lost in Wittenborn’s distracted script. Instead of exploring the concept, he throws out random incidents until he hits one that sends the film into a dark, grotesque spiral.
  21. The results are boring boring.
  22. The comedy part of the equation is awfully mild, however. This is a movie that aims for warm smiles rather than belly laughs.
  23. This is a gentle, diffident concoction. But it has barely enough pulse to power a hummingbird.
  24. Class Action occupies itself with long passages of family melodrama, most of it as familiar as the courtroom drama but far less entertaining. [15 Mar 1991]
    • Chicago Tribune
  25. Some stunts and jokes are genuinely clever.
  26. By the second hour of The Battle of the Five Armies, the visual approach becomes a paradox: monotonously dynamic epic storytelling.
  27. Tries for both civilized wit and primitive joy -- and mostly misses both.

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