Chicago Tribune's Scores

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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:
  1. Positive: 5,106 out of 7601
  2. Mixed: 1,473 out of 7601
  3. Negative: 1,022 out of 7601
7601 movie reviews
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  1. Withnail and I
    It's difficult to see, too, what exactly all of this has to do with the twilight of the '60s. With his frequent sentimental allusions to the end of an era, Robinson seems to be grasping for a profundity that his anecdotal reminiscences don't merit or really need. Marwood, the film implies, will leave this life behind and go on to great things, while Withnail will be mired in it forever, a forgotten Falstaff to Marwood's striding Prince Hal. Self- dramatization is one thing; self-Shakespearization is something else. [10 July 1987, p.C]
  2. Return to Seoul
    It treats Freddie not as a problem to be solved, but as a peripatetic life to be followed. What begins as two weeks in another town, in search of the past Freddie never knew, becomes a reminder that there are feelings, longings, connections in life that remain not impossible, but certainly elusive, and precarious.
  3. I Vitelloni [re-release]
    One of the screen's great portrayals of the hell-raising and malaise of young men in their 20s, hit Italy like a comic thunderbolt when it was released there in 1953 -- and it struck the American art-house audience in much the same way when it premiered here in 1956. Now it returns, and unlike its five aging-boy protagonists, this movie hasn't lost its first youth.
  4. In the Mood for Love
    Shimmers and glows. But it also stings a little -- like the lovely flame that dies and the smoke that, in yet another Cole song, gets in your eyes.
    • Chicago Tribune
  5. Mulholland Dr.
    Like "Memento," Mulholland Drive is an amnesiac noir in the tradition that goes back to "Spellbound" and "Somewhere in the Night."
  6. Mission: Impossible – Fallout
    Some of it’s pleasingly old school in its reliance on formidable stunt work. Enough of it, though, gets a digital effects assist for the amazements to scale the heights of plausibility and then leap, like a gazelle, to the adjacent mountain of sublime ridiculousness.
  7. Cléo from 5 to 7
    Varda's touching day-in-the-life of a Parisian pop star. [12 Jan 2007, p.C3]
    • Chicago Tribune
  8. Grizzly Man
    The movie here is Treadwell's footage--some of it beautiful, much of it difficult to watch.
  9. Ma Rainey's Black Bottom
    Seeing these actors, the late Boseman chief among them, relish the opportunity to try to get a daunting stage-to-screen adaptation right: That’s a privilege to behold.
  10. One False Move
    Mixing moments of genuine terror with offbeat comedy, writers Tom Epperson and Thornton have created a script that jumps along wih the energy of "In Cold Blood."
  11. En el Séptimo Día (On the Seventh Day)
    McKay has worked mostly in episodic television in recent years, and “On the Seventh Day” marks his confident, neatly ordered but freshly observed return to feature filmmaking. He’s working with nonactors here, in a fruitful halfway point between documentary and conventional fictional narrative.
  12. Jaws
    What this movie is about, and where it succeeds best, is the primordial level of fear. The characters, for the most part, and the non-fish elements in the story, are comparatively weak and not believable. [20 June 1975]
  13. Spartacus
    Even when informed by Douglas' characteristic intensity, Spartacus has no real identity apart from "the common man"; at his side, the beautiful Jean Simmons is never anything more than Spartacus' chick - the proof that he's a manly man, as opposed to those mincing Roman aristocrats. Whatever Trumbo's progressive leanings, he was not past equating homosexuality with unspeakable evil and perversion.
  14. Nomadland
    While there’s little or no outright expression of religious faith in Nomadland, Zhao and company have given us a glancing but evocative state-of-the-nation character study. In its own spiritual fashion, Fern’s story becomes one about the character of a nation, and an America desperately searching for the ribbon of highway (to quote Woody Guthrie) to take us all the way home.
  15. My Journey Through French Cinema
    Modeled on Martin Scorsese's engaging first-person documentaries on the cinema, this one has its own avid personality and scholarly charm. Whoever you are, you'll learn a lot.
  16. Wallace & Gromit: The Curse of the Were-Rabbit
    For 40 minutes or so it's really good, in fact, as lovely and daft as the stop-motion animated W&G shorts that preceded it.
  17. About Elly (2009)
    Uncommonly good ensemble storytelling.
  18. The Diary of a Teenage Girl
    Movies concerned with the life, the mind, the body and the dawning self-respect of a 15-year-old girl running every sort of risk — these are rare. The Diary of a Teenage Girl is one of them, and it's terrific.
  19. Lincoln
    It blends cinematic Americana with something grubbier and more interesting than Americana, and it does not look, act or behave like the usual perception of a Spielberg epic. It is smaller and quieter than that.
  20. All Is Lost
    The film has a quietly relentless quality. Redford is fully engaged and vital. I'll leave it to others to read greatness into All Is Lost. It's enough that it's good.
  21. The Banshees of Inisherin
    The result is McDonagh’s most fully realized work since his breakthrough play, “The Beauty Queen of Leenane,” a generation ago. “Banshees” has its limitations; it’s pretty glib, like everything McDonagh writes, in its mashup of blackhearted laughs and occasional sincerity. He’s akin to the Coen brothers in that regard. He’s also a formidable craftsman and his best lines are pearls.
  22. Love & Friendship
    Whit Stillman's Love & Friendship is compact, modestly budgeted, sublimely acted and almost completely terrific.
  23. Hereditary
    Above all, there’s Collette, who sometimes can overdeliver a dramatic moment or an aghast reaction, but in this storytelling context she’s fabulous. It’s a fierce performance with a human pulse, racing one minute, dead still the next.
  24. The Fugitive
    I've already seen The Fugitive twice. I'll probably see it again.
  25. On Becoming a Guinea Fowl
    This is a poetic-realist vision with grace notes of wit and surrealism. It is a calm, visually assured statement of shared rage.
  26. The Death of Mr. Lazarescu
    It is a black comedy, among the blackest. It is also more grueling in some stretches than anything in "United 93."
  27. Odd Man Out
    Odd Man Out is the extraordinary thriller about a botched IRA bank robbery and the badly wounded and increasingly feverish rebel, Johnny (James Mason), who wanders Belfast with both his mates and the police on his trail. [29 Feb 2008, p.C8]
    • Chicago Tribune
  28. Maria Full of Grace
    Takes a simple story and molds it into something eloquent and menacing.
  29. Shakespeare in Love
    Some scholars may scowl, some lowbrows may scoff. But, like wordwise Will, these filmmakers know how to win a crowd -- from the queen down to the groundlings, from the sky above to the stage below. Bravo! [5 December 1998, Friday, p.A]
    • Chicago Tribune
  30. Fateless
    It's a work that sears the heart and conscience. The events are annihilating, the way they're told both beautiful and terrifying.
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