Chicago Tribune's Scores

For 4,589 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 3.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Toy Story 2
Lowest review score: 0 Sucker Punch
Score distribution:
4,589 movie reviews
    • 45 Metascore
    • 38 Critic Score
    The film is awkwardly stitched together from candy-gloss arena concert footage and somewhat grimier-looking backstage/limo/hotel room moments. There is no attempt to make it all hang together as an organic whole.
  1. Take Me Home Tonight, believe me, you've already seen.
  2. The camera bobs and weaves like a drunk, frantically. So you have hammering close-ups, combined with woozy insecurity each time more than two people are in the frame. Twenty minutes into the retelling of fugitive Valjean, his monomaniacal pursuer Javert, the torch singers Fantine and Eponine and the rest, I wanted somebody to just nail the damn camera to the ground.
  3. Astonishingly, Angels & Demons IS the same sort of lumbering mediocrity.
  4. Amiable Gooding still smiles through it all, weathering the cold, physical abuse and implied racism, doing his best to make his audience believe that Snow Dogs isn't offensive mush. But he can't bring it off.
  5. Bride Wars really does not capture the mood of the moment. It comes from a different time, a different planet.
  6. A pair of decent performances does not a movie make, however, as Mazur and Giovinazzo are surrounded by fourth-tier actors (Ventresca and Steven Bauer) and spotty directing of a mediocre script.
    • Chicago Tribune
  7. Let's just say that not revealing this film's idiotic intricacies would be like not divulging that the fish is rotten lest the news spoil the surprise of food poisoning. [28 May 1999, Friday, p.A]
    • Chicago Tribune
  8. A remake for schlemiels, or at least easy marks when it comes to formulaic Hollywood comedy. But the film's peculiar sluggishness and nagging hypocrisy probably won't get in the way of its popularity.
  9. Ludicrous and overstuffed, it plows through the Big 10 of Biblical plagues.
  10. Moving slowly these days, Reynolds does less than no acting in this role, and he’s still the best thing in Deal.
  11. Against the rest of his dramatically flimsy crew, Snipes' sunglasses-at-midnight strut conveys an almost lifelike sheen. Almost. He's more alive than the movie, which is dead on arrival.
  12. Director Burr Steers milks them dry, like an overeager farmer at milking time, which is a paradox since this is the wettest picture of 2010, what with the sea spray and Efron's tear ducts and the general metaphysical mist.
  13. The direction is on auto-drive, the dialogue lacks wit and the story logic is non-existent. [03 Nov 1995]
    • Chicago Tribune
  14. Some actors steal scenes. Tom Green just gives them a bad odor. This self-infatuated goofball is far from the only thing wrong with the clumsy comedy.
  15. The court scenes are rarely funny, either in the trash talk or the slapstick.
  16. Everything's at stake yet nothing comes to much in Terminator Genisys.
  17. Hutcherson spits his lines out as quickly as possible, which you appreciate, because the way the likable Johnson wrestles with his lines ("It looks like the liquefaction has tripled overnight!") you think, well, it's a living.
  18. Terrible but, in its squealing way, sporadically fun-terrible.
    • 45 Metascore
    • 38 Critic Score
    This self-important movie can't save itself from being disheartening.
  19. It's a screen adaptation of Busch's stage play of the same name, which never really went anywhere after its 1999 Los Angeles debut -- and doesn't go anywhere here.
  20. Stumbles from cliche to cliche:
  21. About halfway through the violent, fantasy adventure Highlander, one character talks about how it was the custom during ancient times to throw babies into a pit of hungry dogs. Well, there were more than a few times during this hyperviolent film in which I felt as if I were a baby being thrown to a dog of a movie.
  22. A childish and visually repetitive movie, ham-fisted, proselytizing and overtly simplified.
  23. The film suggests Lohan probably (allegedly) should've gone after her agent the other night, not the mother of an ex-personal assistant.
  24. Madonna stayed married to director Guy Ritchie just long enough to absorb his most grating cinematic instincts - shooting in every style, in an addled, shuffle-mode, falsely glamorizing way until all is chaos. And, astonishingly, boredom.
  25. Superhero comic book movie with a script so feeble it might have been written with crayons.
  26. An overblown clunker full of bad jokes, howling cliches and by-the-numbers action sequences.
  27. A clammy little number that might've been funded by the Department of Homeland Security.
  28. Black or White may not be racist, exactly, but it patronizes its African-American characters up, down and sideways, and audiences of every ethnicity, background, hue and predilection can find something to dislike.

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