Chicago Tribune's Scores

For 7,601 reviews, this publication has graded:
  • 62% higher than the average critic
  • 2% same as the average critic
  • 36% lower than the average critic
On average, this publication grades 1.4 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Autumn Tale
Lowest review score: 0 Car 54, Where Are You?
Score distribution:
7601 movie reviews
  1. Turns out to be every bit as deft, witty and, yes, moving as the first one.
  2. It may not be a transcendent masterpiece of the Disney canon, but The Little Mermaid is still very heartening: It suggests the Disney magic isn't lost after all.
  3. A tart, brilliantly acted fable of life’s little cosmic difficulties, a Coen brothers comedy with a darker philosophical outlook than “No Country for Old Men” but with a script rich in verbal wit.
  4. The movie's excellence, a stylistic world apart from the strikingly photographed but rather hysterical 1967 film version of Capote's masterwork, is in capturing its subject without pinning him down.
  5. Mordant in the extreme, and often hilarious, The Death of Stalin somehow manages to acknowledge the murderous depths of Josef Stalin’s regime while rising to the level of incisive, even invigorating political satire.
  6. A Christmas season evergreen.
  7. It’s beautiful work, and not just because it’s beautiful.
  8. The filmmaker's documentary training pays off in detail after detail.
  9. For a while it’s engaging but pretty thin. Then it gets more interesting, especially for the actors.
  10. One of Anderson's cleverest and most gorgeous movies, dipping just enough of a toe in the real world — and in the melancholy works of its acknowledged inspiration, the late Austrian writer Stefan Zweig — to prevent the whole thing from floating off into the ether of minor whimsy.
  11. I love it, not simply because I love Chekhov or because I've loved so much of Ceylan's earlier work. I love it because the director, having come into his own as a master international filmmaker years ago, gives us so much to see and think about, so many astringent observations about life's compromises and longings.
  12. Cooper knows he has an audience willing to listen, and what he says is so beautifully, powerfully open-hearted, vulnerable and loving it's overwhelming.
  13. The film works, whatever your ethical stance on Snowden, because it's more procedural than polemic.
  14. One of the most remarkable and moving love stories the movies have recently given us.
    • 88 Metascore
    • 100 Critic Score
    Director Thomas Kail’s filmed version of the blockbuster musical Hamilton, available Friday on the Disney Plus streaming service, surely is the greatest translation, democratization and preservation of any Broadway show, ever.
  15. Mafioso is shaped like a comedy, and it is one, but its intentionally jarring clashes of tone and rhythm are truly out there.
  16. Of all the movies that try to take us into the mind and viewpoint of a child, Carol Reed's 1948 The Fallen Idol, adapted by Graham Greene from his short story, is one of the most ingenious.
  17. This is the second feature from Maoz; his first, the superb “Lebanon” (2009), is one of the essential war pictures of the young century. Foxtrot qualifies as a war film as well, and as in all such pictures made by, and for, grown-ups, the psychic battles are no less intense than the literal carnage.
  18. Matt Damon narrates, and I do wish the narration didn't end on such a generalized, throw-the-bums-out note, over footage of the Statue of Liberty.
  19. A bizarre, thrilling, warmly funny spoof of the WWII Steve McQueen prison camp thriller, "The Great Escape" remade for a near all-chicken cast.
  20. With 20 additional minutes of screen time, the director's cut of Richard Kelly's genre-splicing "Donnie Darko" offers new viewers a second chance to discover his mind-bending masterwork.
  21. The actors, predictably, are superb in roles shaped by screenwriter David Seidler, and directed by Tom Hooper. Yet they are unpredictably superb as well.
  22. The fans of their best work -- "Blood Simple, "Raising Arizona," "Barton Fink" -- now can add Fargo to the list, pushing the Coens to the first rank of contemporary American filmmakers. [8 March 1996, Friday, p.B]
    • Chicago Tribune
  23. What the movie has, above all, is a dramatic line, clean and straight. In its faces, its scenery and its plain satisfactions it makes us feel like we've been somewhere, when we get to the end of that line.
  24. Up
    Some of the comic inventions are inspired: Muntz has a pack of dogs equipped with electronic voice boxes, which means they're talking dogs, only they speak as if they've learned English from a poorly translated Berlitz guide.
  25. Curtiz holds you in his master grip, creating one of those WW II-era California noirs that keeps swinging you from darkness to sunlight, love to hatred, happiness to the pits of despair and death. [18 Nov 2005, p.C6]
    • Chicago Tribune
  26. This film may be fantastical, outré, at times bizarre, and sexually frank. But ultimately, Poor Things is a traditional heroine’s journey forging its own singular path. That Bella achieves a fully embodied sense of personal liberation makes it a truly radical — and feminist — fairy tale.
  27. Few films have caught the special feel and rhythms of childhood so well, with such uncondescending warmth and humor. And few bring out more powerfully the themes of anti-racism and the virtues and joys of community and family. [20 Apr 2007, p.C5]
    • Chicago Tribune
  28. Braga isn't quite the whole show in Aquarius, but she's certainly a lot of it.
  29. So what we have in the middle of Back to the Future, this seeming kids' movie full of screeching cars, special effects and lightning storms, is nothing less than an adult reverie. And if families could be persuaded to see this film together, it might touch off a long night of sharing between parents and children. [03 July 1985]
    • Chicago Tribune

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