Chicago Tribune's Scores

For 4,574 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 Moulin Rouge!
Lowest review score: 0 UHF
Score distribution:
4,574 movie reviews
  1. Watching Heather Graham, Tom Cavanagh and a stridently adorable Alan Cumming do their wide-eyed, moony thing in the romantic comedy Gray Matters raises the question: Is it possible for a filmgoer to be twinkled to death?
  2. Pure, witless discombobulation.
    • 24 Metascore
    • 25 Critic Score
    One redeeming feature of this picture is that it will make great fodder for those make-fun-of-the-movie TV shows.
    • 27 Metascore
    • 25 Critic Score
    The storyline isn't coherent, the music stinks, the characters are one-dimensional, the dialogue is insipid and it is neither funny nor romantic.
  3. Only Sarah Paulson, as the Spirit's doctor and sometime lover, seems to be in there playing the scenes as if she were a human being in a comic book superhero scenario, as opposed to a comic book character stuck in a cruddy movie.
  4. So dark and dirge-like are its first 85 minutes that a few uplifting minutes at the end can't dissipate the somber cloud Noel summons.
  5. You'd have to go back to "My Stepmother Is an Alien" to find a male fantasy/nightmare this off-putting.
  6. Offers only one point of interest beyond the breasts of its second female lead: Aniston's barely disguised disdain for her material.
  7. Despite some imaginative fatalities, is less a movie than a slick video game.
  8. [Chris Elliott]'s spoof of a young seaman's apprenticeship seems desperate as he piles special effects willy-nilly atop jibes at stupid old salts. [14 Jan 1994]
    • Chicago Tribune
  9. Kathy Baker, as Burden's elegantly sodden mother, shows the only sign of interpretive life in this stiff-jointed enterprise. She has about five minutes on screen; she's lucky that way.
  10. Will come off as insipid, unfunny and too serious at times for its own good.
    • 34 Metascore
    • 25 Critic Score
    The kind of movie that produces a particular series of questions: How the heck did this get made? Who needed a tax shelter? Who had money to burn?
  11. It sets a tone, all right. A lot of gamers (sorry, "filmgoers") may well enjoy writer-director Michael Davis' ultraviolent lark. It's not meant to be taken seriously. But films like this are worth taking seriously because they're genuinely cruddy and hollow and, yes, vile.
  12. This movie is crushingly ordinary in every way, which with Rand I wouldn't have thought possible.
  13. Bewilderingly bad.
  14. All the principals in this cinematic mess have had moments of glory on stage and screen, and one can only hope they got paid well for participating in this comedic embarrassment.
    • Chicago Tribune
    • 42 Metascore
    • 25 Critic Score
    From my vantage point, it doesn't include a single laugh.
  15. An almost mystifyingly bad movie.
    • Chicago Tribune
    • 19 Metascore
    • 25 Critic Score
    What's remarkable is how absolutely every character in the film is a movie cliche.
  16. The kind of fascinatingly bad film only a really gifted and fearless moviemaker could make: a 92-minute long raggedy-raunchy vision of sex, transit and alienation in which Gallo focuses on himself so obsessively, it's as if he'd become his own stalker.
  17. It's the neediest movie of 2011, and one of the phoniest.
  18. Newbie director Richards shoots all the women like slabs of meat, and his self-seriousness throughout London--some of it tries to be funny, a lot of it is funny by accident--borders on the delusional.
  19. In Harlem Nights, Eddie Murphy continues his one-man war against the female gender. Those women he doesn't kill outright are punched, maimed and slugged with garbage cans. But apparently they deserve it-there isn't a single female character in the film who isn't a prostitute. [17 Nov 1989, p.A]
    • Chicago Tribune
  20. The first starring vehicle for shock comic Andrew Dice Clay, The Adventures of Ford Fairlane, turns out to be the kind of detective spoof worn out 30 years ago by Bob Hope and Jerry Lewis, though refitted with salty language, graphic violence and an attitude toward women that makes the Marquis de Sade look like Phil Donahue. [11 Jul 1990, p.18]
    • Chicago Tribune
  21. If only they didn't cannibalize their source material so much, then take an extreme rule reversal just before the end credits, they might have achieved something original, rather than just a fan-fiction derivation of George A. Romero's canon.
    • 52 Metascore
    • 25 Critic Score
    There are flashes of grim humor interspersed with the murders, but not enough wit to elevate this movie beyond its primary identity: grisly revenge fantasy.
    • 41 Metascore
    • 25 Critic Score
    With a weak script, utterly unsympathetic characters and a nonsensical plot, it can barely keep plodding along.
  22. There may be better ways to waste your time than seeing this movie.
  23. If you are misguided or otherwise unfortunate enough to see Forces of Nature, you will find yourself the next day with but one image, one memory, in your head: Sandra Bullock's teeth. [19 March 1999, Friday, p.A]
    • Chicago Tribune

Top Trailers