Chicago Tribune's Scores

For 4,825 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 3.4 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 After the Life
Lowest review score: 0 Chaos
Score distribution:
4825 movie reviews
  1. Ritchie, who shoots and cuts everything in RocknRolla like an ad for a particularly greasy brand of fragrance for men, delivers the beatings and killings in his trademark atmosphere of morally weightless flash.
  2. Might be justified as "mindless fun" if it weren't for the acute lack of fun in its 93 minutes.
  3. There’s nothing wrong with All About Steve that a rewrite couldn’t fix, as long as the rewrite involved a different writer, a different character and a different story.
  4. The Good German is just stiff. When Soderbergh tries one of those patented swoop-in-on-the-diagonal moves at a key dramatic moment, the effect is comic. And at that precise moment, the story starts dying a slow, oxygen-deprived death.
  5. Strange as it seems, if you choose to set aside the female roles in The Ridiculous 6 reducing women to cleavage or to mute humiliation, the movie is a long, long way from the worst Sandler movie ever made.
  6. The Boss has zero finesse as a comedy.
  7. Jakes' characters are points to be made, flesh and blood cautionary tales that don't particularly feel human. His dialogue, even in the mouths of Michelle and her troubled mother, sounds as if it comes straight from the pulpit.
  8. I can only hope that this film was a lot of fun to make. That way, someone will have enjoyed the experience.
  9. Reveals a flash or two of real filmmaking (mostly in a suggestively grotesque birthing sequence), enough to save it from pure lousiness.
  10. I can't think of much that might happen on a date evening that could be more annoying than this movie.
  11. Falls flat on its face.
  12. Worst of all, though, is the movie's moral maneuvering.
  13. Now that Smith has gotten these characters and jokes out of his system, here's hoping he can turn to material that doesn't require winking at the audience.
  14. Technically clever but emotionally bankrupt...it's an almost laughably opportunistic movie.
  15. It may entertain you if you don't mind senseless stories and screaming soundtracks.
  16. Outrageously vapid and overdone movie.
    • 63 Metascore
    • 38 Critic Score
    The Signal combines the inconstancy of an omnibus film with the blandness of art by committee. The end result feels less like a blend of distinct styles than an opportunistic hodgepodge, a second-hand premise wedded to an attention-grabbing gimmick.
    • 47 Metascore
    • 38 Critic Score
    Some of the players comport themselves better than others--Barrymore is sweetly wistful in her minor role, while Johansson, as a confident go-getter who sets out to steal her crush object rather than moon over him, is sexier than the whole cast put together.
  17. The wastrel Sparrow ends up both overexploited and underpowered in this fourth outing.
  18. The film is perfectly mediocre, which is heartbreaking, not heartwarming.
    • 12 Metascore
    • 38 Critic Score
    A disjointed film that, but for brief flashes of comedic verve, should skip theatrical release and go straight to video.
  19. Once the credits are done rolling it's a dour, enervated mystery, selling the old cat-and-mouse games.
    • 27 Metascore
    • 38 Critic Score
    It's a high-powered cast, but it has painfully little to work with, apart from widely varying humor.
    • 49 Metascore
    • 38 Critic Score
    Sean Anders' derivative gross-out movie Sex Drive is easier to take if you accept that the answer to every baffling plot question is "because it’s a teen sex comedy."
  20. The film, with its wearying gamer-style rounds of death, is routine at best.
  21. The choicest dialogue in Burlesque provokes the sort of laughter that other, intentionally funny films only dream of generating.
  22. Like its parade of predecessors, this Halloween is a gory slash-fest. It can't escape its past, and it doesn't want to.
  23. Despite honorable work from Theron, Robb and Stahl, Sleepwalking makes good on its title in a not-so-good way.
  24. Just say no.
    • Chicago Tribune
  25. How big a bastard can Woody Allen build a screenplay around and still generate a modicum of audience goodwill? The answer: not this big.

Top Trailers