Chicago Tribune's Scores

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For 7,609 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 1.5 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:
  1. Positive: 5,113 out of 7609
  2. Mixed: 1,474 out of 7609
  3. Negative: 1,022 out of 7609
7609 movie reviews
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  1. Perpetrator
    In the best possible way, Reeder has returned throughout her career to stories and characters rooted in trauma, while expanding the fantasy/reality boundaries of her narratives. This is her best realized work so far.
  2. The Monkey
    While I hope Perkins doesn’t lean into jokey sadism as a dominant creative impulse — we have too many jokey sadists with movie deals as is — The Monkey asserts his stealth versatility as well as his confident technique.
  3. In My Skin
    As psychological drama, In My Skin falls short. But as pure horror, it's unforgettable.
  4. Miller's Crossing
    The Coens have technique and they have taste; what they do not yet have is the ability to move beyond their handsome imagery to the human center of their material. [5 Oct 1990, Friday, p.C]
    • Chicago Tribune
    • 72 Metascore
    • 75 Critic Score
    The Talent Given Us
    One fears, however, that not every uncomfortable scene was scripted, and that we have just been privy to some awfully private moments. It makes for uneasy viewing, sure, but it's one of the most compelling rides around.
  6. Brigham City
    Reminiscent of classic old Westerns.
    • Chicago Tribune
  7. A History of Violence
    If this all sounds very heavy, well, it is, but it's also very, very funny. Cronenberg may want to say something important about violence, but he's also head over heels for it, ending each gunfight and neck-breaking with a close-up on the victim, blood either pooling behind his head or brains spilling from his face. Big laughs.
    • 70 Metascore
    • 75 Critic Score
    I.O.U.S.A.
    Packed with facts, figures and the testimony of policy experts, the film is no wallow in wonkiness, though, but a surprisingly sprightly tough-love lesson in fiscal responsibility.
  9. Wendy and Lucy
    If a Warner Bros. social-protest film from the early 1930s somehow got into bed with an American indie from the 1970s, how would the love-child turn out? Like this.
  10. The Chronicles of Narnia: The Voyage of the Dawn Treader
    The Dawn Treader doesn't so much reinvent the "Narnia" franchise as do what's needed, and expected, with a little more zip than the previous voyages.
  11. We Don't Live Here Anymore
    Usually American marital problems are left to the soap operas; it's nice to see them tackled by experts, piercing personas and peeling open hearts.
  12. Hotel Artemis
    It’s essentially the Hotel Earle from “Barton Fink,” augmented by the latest in robotic surgical techniques for bullet extraction.
  13. Murderous Maids
    Lucidity, austerity and quiet compassion are peculiar virtues to ascribe to a movie about a horrific real-life murder case, but those are among the best qualities of Jean-Pierre Denis' Murderous Maids.
  14. Uncle Buck
    As long as Hughes is content to provide a simple, flexible format for Candy, Uncle Buck is very entertaining. Hughes seems to have relaxed his usual controlling, compulsively tidy style, taking full advantage of the improvisational talents of his star.
  15. They Live
    The looniest movie of the season and also one of the most engaging. [7 Nov 1988]
    • Chicago Tribune
  16. Man Push Cart
    A realistic drama about life's uncertainties.
  17. Jefferson in Paris
    But, as with any other Merchant Ivory film, this one provides pleasures beyond the ordinary. [07 Apr 1995]
    • Chicago Tribune
    • 57 Metascore
    • 75 Critic Score
    Hatchet
    This is not a film intended for a wide audience. But B-movie fans who find their way to Adam Green's gory schlock extravaganza are going to like it.
  19. Things We Lost in the Fire
    Things We Lost in the Fire finds Bier at an interesting juncture, half-Dogmatic, half traditionalist.
  20. Ghost World
    What I did like unreservedly was the acting. Enid, as enacted by the sometimes astonishing Birch, is one of the more convincing, no-nonsense teens in recent movies.
  21. Irina Palm
    It turns out a success, tempering its farfetched scenario with enough restraint and believability to pass for a modest parable of modern manners.
  22. The Curious Case of Benjamin Button
    Yet it's worth seeing because the sights are truly something. Claudio Miranda's pearly cinematography, Donald Graham Burt's luscious production design, the visual effects supervised by Eric Barba--everything blends, and none of the seams show.
  23. Dolls
    A work both rigorously stylized and deeply personal. Devotees of Kitano and Japanese cinema will admire Dolls.
  24. American Animals
    Tangling reality and fiction into one impossible knot is at the core of this story, and the form follows that function.
  25. The Little Hours
    I liked a lot of writer-director Jeff Baena's picture; it may be a one-joke movie, but I've seen comedies recently that would've killed for that many.
  26. Epidemic
    Epidemic will never be confused with von Trier's great films. But it is an intriguing introduction to his later cinematic obsessions.
  27. Bad Luck Banging or Loony Porn
    Amid so many earnest, forgettable COVID-era and COVID-acknowledging movies around the world, here’s one that truly goes for it.
    • 66 Metascore
    • 75 Critic Score
    Philadelphia
    Even with its imperfections, Philadelphia is still an entertaining and moving film. Although it preaches, it also forces us to look at ourselves. [21 Jan 1994, p.N]
    • Chicago Tribune
  29. I Swear
    I Swear is a film that was made with a lot of bravery and heart. It’s an important extension of John’s advocacy, but it’s also deeply moving and very entertaining.
  30. Yossi & Jagger
    Most of the film's action takes place on the base, where Fox smartly concentrates on how this relationship -- tormented at times, lighthearted at others -- exists in Israel's military bubble.
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