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. But even with the great good efforts of Wallis, the results, to some of us, betray a distrustworthy slickness reminiscent of a British Petroleum oil spill clean-up commercial.
  2. Billed as one of the most frightening, depraved films ever made. Would that it were so. Instead, this is a case of much ado about nothing. [15 February 1991, Friday, p.C]
    • Chicago Tribune
  3. By the two-hour mark the fun had oozed out of the movie for me. It's long. Or feels it.
  4. If only the film had been a more visually satisfying experience.
    • Chicago Tribune
  5. A few moments of sly inspiration are not enough to carry an entire feature; along with the tears, it leaves behind an aftertaste of phoniness. [16 March 1990, Friday, p.H]
    • Chicago Tribune
  6. It is an intriguing subject, though so far all that Morris has brought to it is a combination of the morbid and the cruel; he needs to develop some sympathy, too. [16 Sept 1988]
    • Chicago Tribune
  7. Feels constrained and rather dutiful, no matter how passionate these people are about what they're observing.
  8. Diamond Men's potential as a diamond in the rough turn out to be more "rough" than "diamond."
  9. 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.
    • 78 Metascore
    • 50 Critic Score
    Extremely slow--unbearably so at certain points. And even when there's no action, there's very little dialogue, and we're asked to follow the disjointed and dreamlike story line without the help of anything resembling a narrative.
  10. The problem with The Lion, the Witch and the Wardrobe is this: The closer the many-hands screenplay gets to the Christ-like sufferings and resurrection of Lord Aslan, the lion (voiced by Liam Neeson), the more conflicted the filmmakers' efforts become.
  11. The movie's benumbed by its own parade of bad behavior. Like some of Scorsese's other second-tier works — "Casino," "Bringing Out the Dead" — the gulf between virtuoso technical facility and impoverished material cannot be bridged. It's diverting, sort of, to see DiCaprio doing lines off a stripper's posterior, but after the 90th time it's like, enough already with heinous capitalistic extremes.
  12. for all its flaws, Born on the Fourth of July provides the final proof that Tom Cruise is the real thing-a movie star with all the natural, unforced ability to connect with an audience that the title implies. [20 Dec 1989, p.1]
    • Chicago Tribune
  13. After the fourth electrocution gag, the 10th smack in the face and the 12th assault on a wee rodent crotch, we could all use something quiet.
  14. Awakenings is a film that unquestionably succeeds on its own terms, though those terms are deeply suspect. It is a canny piece of false art, one that consistently swaps meaning for superficial effect. [20 Dec 1990, p.1]
    • Chicago Tribune
  15. Though the costumes are beautifully designed, the chateau locations carefully chosen and the dialogue full of curling locutions, something cloddish and naive still comes through in Frears' direction, and not only because he can seldom get his shots to match. [13 Jan 1989, Friday, p.A]
    • Chicago Tribune
    • 74 Metascore
    • 50 Critic Score
    If this documentary were about a serious painter, it would be judged a travesty not unlike commercials that goose up the couple in "American Gothic" or show the Mona Lisa laughing.
    • 74 Metascore
    • 50 Critic Score
    Gavras’ ending makes it clear where her sympathies lie. In the process of building to that conclusion, she overplays her metaphor a bit, but still, political tracts rarely come this sweet and sympathetic.
  16. Boyle's new movie is mostly a zombie fiasco, closer to the vacuities of "The Beach" than the scintillating social satire of "Trainspotting."
  17. A light, breezy, often charming little film, with a good cast playing mostly shallow characters.
    • Chicago Tribune
  18. Surprisingly lacking in revelatory moments.
    • Chicago Tribune
  19. Boys N the Hood wants to be “The Learning Tree'' and “Super Fly'' at once, an ambition that doesn't seem quite honest. [12 July 1991]
    • Chicago Tribune
  20. The film is rarely dull; it's one life-and-death sequence after another, and the filmmaking's efficient, crisply delivered. But Eastwood honors his subject without really getting under his skin.
  21. Eastwood's foursquare directorial aesthetic tends to heighten, rather than camouflage, a screenplay's shortcomings.
  22. Hellboy's adventures may take him to you-know-where and back, but the movie remains in limbo.
  23. Challenging to follow, at best.
  24. Truly, Madly, Deeply, which takes on bereavement and regeneration, uneasily straddles the delicate line between the charming and the cloying. [24 May 1991, p.L]
    • Chicago Tribune
  25. With the movie's attentions spread so thin, almost everything begins to seem peripheral - even if almost every loose end is tied together, no matter how unlikely the connection.
  26. The skillful quartet at the center of Drinking Buddies reveals the weaknesses in the material.
  27. What are they trying to accomplish and is this really the best way to accomplish it?

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