Chicago Tribune's Scores

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For 7,603 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: 5,107 out of 7603
  2. Mixed: 1,474 out of 7603
  3. Negative: 1,022 out of 7603
7603 movie reviews
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  1. Veronica Mars
    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.
  2. The Doors
    Hysteria, however skillfully maintained, should never be mistaken for art-a caution that applies equally to Stone and his subject. [01 Mar 1991]
    • Chicago Tribune
  3. Conversations with Other Women
    This minor relationship picture comes and goes, but her (Carter's) performance lingers.
  4. Don't Tell Mom the Babysitter's Dead
    Don’t Tell Mom the Babysitter’s Dead is surprisingly authentic and fun for this kind of nostalgia-baiting remake material, which is naturally formulaic. It’s the focus on character and allowing the actors to shine that makes this one sing, and it should make a star out of Jones, who, like her character, manages to hold it all together.
    • 62 Metascore
    • 63 Critic Score
    On a Clear Day
    While On a Clear Day can claim both a surplus of heart and adequate brains, it comes up lacking in the courage department.
  6. Working Girls
    Director Lizzie Borden sticks to the business of trying to elicit natural performances from a cast that includes Off-off Broadway actors, actors with almost no credits and, among the men, some who are not actors at all. To a remarkable degree she has succeeded, particularly in the case of Louise Smith, who plays Molly. [13 Mar 1987, p.D]
    • Chicago Tribune
  7. Harold and Maude
    The movie is a paean to outsiders and reckless love.
  8. Seraphim Falls
    You could say that Seraphim Falls, was no better than the typical Westerns of the 1950s and '60s--which I think underrates it. But those typical Westerns were pretty darn good, and so is Seraphim Falls.
  9. My One and Only
    If you have any curiosity at all about how a fellow like George Hamilton became a fellow like George Hamilton, My One and Only answers the question by looking, fondly, at his primary caregiver.
  10. Something to Talk About
    Something to Talk About, which is something to see, makes us a delectable present of its own bright, brawling little world: wisecracks, venomous Charity Leagues, horse shows, last dances, skeleton-filled closets and all. [4 Aug 1995, p.C2]
    • Chicago Tribune
  11. Bleed for This
    Don't expect miracles. Not every biopic needs to reinvent the form. Sometimes it's enough to inhabit it, engagingly.
  12. The Claim
    I liked The Claim -- as much for its stark visual beauty and impassioned performances as its intelligent script and willingness to probe the tragic side of life.
    • Chicago Tribune
  13. Finding Forrester
    It's rare to see a movie that takes such joy in the power of words, not to create lofty works of art but to effect the simple, necessary translation of what's in one's heart and mind.
    • Chicago Tribune
  14. Comedian
    A film that comes close to re-creating the funny-but-serious environment of stand-up comedy.
  15. Off the Black
    There's something very right with Off the Black in terms of pure emotion and performance craft.
  16. Lemony Snicket's A Series of Unfortunate Events
    Exceptionally clever, hilariously gloomy and bitingly subversive.
  17. Chances Are
    Though the gags make great use of embarrassment, they stop short of actively humiliating the characters, a gesture that these days counts as something fine and noble. [10 March 1989, p.E]
    • Chicago Tribune
  18. All the Old Knives
    All the Old Knives settles for all the old tropes.
  19. Wise Guys
    Big laughs, foul language to the point of absurdity and one hilarious, screaming performance atop another combine to make Wise Guys one of the funniest times you will have at the movies this year.
  20. The Photograph
    The Photograph treats all its characters with some decency and understanding, in a genre where straw villains and cardboard adversaries typically run rampant. The plaintive, jazz-inflected musical score by Robert Glasper establishes the right vibe and level of drama, which is to say: more like life and less like the movies.
  21. Cats Don't Dance
    Cats Don't Dance is a cinematic anomaly: an animated film that could have more appeal for adults than for children.
  22. Maverick
    Too rich, too loaded, Maverick may have misplayed its cards, kept its eyes on the pot instead of the players. In movies, as in poker, you can't always trust a pat hand.
  23. Mister Foe
    The film disappoints particularly in relation to "Young Adam," an earlier picture about sexual obsession from writer-director David Mackenzie; this one's more in line with the creamy tones and surface readings of "Asylum."
  24. Despicable Me 2
    It's a reasonably efficient baby sitter, done up in 3-D computer-generated animation of no special distinction. But the first one's weird mixture of James Bond bombast and hyperactive pill-shaped Minions (the protagonist Gru's goggle-clad helpers) had the element of surprise in its favor.
  25. The Cook, the Thief, His Wife & Her Lover
    Greenaway's regard is certainly unblinking, though it's hard to see where the seriousness and compassion come in. The thematic oppositions are primitive and are not fleshed out by the characters, who remain flat and puppetlike. [6 Apr 1990, p.G2]
    • Chicago Tribune
  26. The Matrix Reloaded
    For such a rich visual movie, "Reloaded" tells far more than it shows; the pivotal scenes involve people explaining things to Neo. Too many plot turns resemble detours, and even the ever-amusing Smith feels like a red herring in the scheme of things.
  27. Cowboy Bebop the Movie: Knockin' on Heaven's Door
    Magnetic, beautiful stuff.
  28. Ted
    You can find this clever, or you can find it lazy, and this is why MacFarlane is the biggest mixed blessing in contemporary TV comedy: He is both.
  29. The Goonies
    As entertaining as The Goonies finally becomes--and its last hour is mostly one pleasure after another--it's a shame that Spielberg, writer Chris Columbus and director Richard Donner felt the need to take the low road in terms of language. [7 Jun 1985, p.A]
    • Chicago Tribune
  30. Beautiful Boy
    If the key performances in Beautiful Boy were any less honest, the film's half-formed suppositions would undo it utterly.
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