Chicago Tribune's Scores

For 4,634 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 Dear White People
Lowest review score: 0 I'm Still Here
Score distribution:
4,634 movie reviews
  1. A modernized version of that great sentimental horse movie, 1943's "My Friend Flicka," and it comes with the shiny trappings, high professionalism and glamorous accessories you might expect...Something is missing though.
  2. It's a dreary movie about a dreary character, offering little insight into her poetry or the mental illness that ultimately conquered her.
  3. Despite the actors, who at least get some swell clothes to wear, Winter's Tale is a bit of a soul-crusher itself.
  4. Doesn't know how to do what I think it's trying to do.
  5. Sidelined by a script that plays like an imitation of another era’s artifacts. It’s an oxymoron: a mild screwball romance.
  6. Wine may be sunlight held together by water, as Galileo said, but Bottle Shock is held together only by Alan Rickman.
    • 51 Metascore
    • 50 Critic Score
    If only they had allowed their characters to develop naturally after those first mismatched meetings, Km. 0 might have ventured into more intriguing territory.
  7. Most of the clues in Veronica Mars pertain either to Internet sex tapes or the various surveillance uses of the latest tablets. Anybody who works in tech support will probably enjoy the film a tad more than I did.
  8. I enjoyed these characters more when they were rich, rather than obscenely rich, when their self-involvement and life crises had one foot on planet Earth -- and when they weren't all gussied up like Mae West in "Sextette."
  9. Might be best described as Thailand's version of "The Alamo."
  10. A cute, well-acted film that tries to mix tones sharply.
    • Chicago Tribune
    • 43 Metascore
    • 50 Critic Score
    Sure, it's funny, mainly because it's utterly absurd and meandering.
  11. Freaky Friday commits a lot of sins; luckily, it has Curtis and a few others to cover them up.
  12. The supporting players in Man on a Ledge bring more to the party than the leads, and my suspension of disbelief seems to have gotten hung up in traffic while attempting to cross the suspension-of-disbelief bridge from the Brooklyn side.
    • 50 Metascore
    • 50 Critic Score
    Rahul Bose's pleasant little flick, could have been much more than just fine had the director taken more risks. Instead, this movie pulsates with lost opportunity and unanswered questions.
  13. Dwayne Johnson leaves his lovable self behind in the violent but bland Faster.
  14. For all its slickness, is an R-rated version of "Survivor," "Big Brother" or any number of reality-TV shows that present voyeurism as entertainment and exploitation as insight.
    • 61 Metascore
    • 50 Critic Score
    Filmmaker Dana Brown's major error is that he doesn't just shut up and get out of the way.
  15. An uninspired misfire of a TV-series knockoff that, despite its great cast and smart filmmakers, never manages to scare up much magic.
  16. A pumped-up, flag-waving, outrageously hokey and ridiculous -- but sometimes incredibly exciting -- war movie.
  17. Director Madden vacillates between treating the issues and historical context of The Debt seriously, and as the story demands, as pure, heavy-handed pulp. The cast does what it can in the service of this assignment. But some jobs simply resist satisfying completion.
  18. In movies as in life, superior technology doesn't necessarily trump humor, magic or really shaggy dogs.
  19. Despite the proficient technique, after a while you may feel you're watching a particularly scenic snuff film.
  20. The film gets by on the sheer good-naturedness Reitman is able to place in all of his efforts, though it doesn't seem likely to inspire the same level of affection as the original. Innocence is one quality that can never quite be recaptured. [16 Jun 1989, p.28]
    • Chicago Tribune
  21. There is a genuine sweetness in Reitman's work that balances the innate cruelty of much '80s film comedy. But this time the gags are too feeble to provide a counterweight and the film tips into the cute, benign and pointless. [9 Dec 1988, p.A]
    • Chicago Tribune
    • 45 Metascore
    • 50 Critic Score
    Director Joe Nussbaum (“Sleepover”) doesn’t do much with his cast; there’s a lot of standing around as he indulges Bynes’ tendency to mug.
  22. Girls do rock, and the final concert is both wild and cathartic. Too bad we haven’t learned more about these rockers along the way.
  23. She tackled "The Tempest" on stage, years ago. On screen I wish she'd (Taymor) adapted it with a freer hand, and then directed it with a more considered one.
  24. Settles for being simple, familiar and ineffective, though I suspect it'll warm a few hearts.
  25. Absorbing in places, but considering the large and diverse pool the filmmakers had to draw from, it's a surprisingly repetitive and predictable collection of big-city sagas.

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