Chicago Tribune's Scores

Select another publication »
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
view
per page
  1. Mumford
    On a direct line with the whimsical small-town comedies of the '40s and '50s.
  2. Train of Life
    A fairy tale comedy with the Holocaust as the background, a collision of terror and community, death and beauty.
    • 62 Metascore
    • 75 Critic Score
    Unbreakable
    The irony is that although Unbreakable is as compellingly watchable, stylish and intriguing as its predecessor, its ending has almost the opposite effect on the overall picture.
    • Chicago Tribune
  4. Ararat
    This toweringly ambitious picture confronts a brilliant director, Atom Egoyan, with a major historical event and a profound theme.
  5. A Few Good Men
    Works because it's able to draw so many side issues into its central conflict, spreading its concerns culture-wide. [11 Dec 1992]
    • Chicago Tribune
  6. My Big Fat Greek Wedding
    Predictable and dull.
  7. The Mudge Boy
    Simply photographed and well acted, The Mudge Boy captures "Deliverance"-level disturbing images as it takes an unsentimental approach to its characters.
  8. Sleight
    Sleight fuses superhero story with a tough coming-of-age tale, and it enlivens and elevates both genres into something new and different, while heralding the arrival of Latimore as a star.
  9. The Life Aquatic with Steve Zissou
    A comedy that seems to have most everything going for it but the ability to make us laugh.
  10. I Am a Sex Addict
    A confessional film that's almost too confessional--is like getting buttonholed by a casual acquaintance at a party and then subjected to a flood of highly intimate revelations that just don't stop.
  11. The Ice Harvest
    The Ice Harvest is not "Bad Santa" redux. It has comic moments - primarily from Oliver Platt, in fine drunken stupor - but Ramis' tiptoe into film noir isn't really a comedy.
  12. On Chesil Beach
    The ending is very different from the novella, and I was surprised at its shameless, ruthless emotional effectiveness.
  13. The Snows of Kilimanjaro
    Shallow, colorful adaptation of one of Hemingway's best short stories. [08 May 1998, p.M]
    • Chicago Tribune
  14. The Rental
    It starts out good and turns out dumb, ditching a promising, nicely suggestive first half for second-half payoffs (revealed in the trailer) taking director Dave Franco’s feature directorial debut into lame and lamer slasher-film territory.
  15. My Favorite Year
    This overrated backstage TV nostalgia comedy, set in 1954, does boast standout performances by Peter O'Toole and Joseph Bologna as characters modeled on Erroll Flynn and Sid Caesar. [07 Nov 1997]
    • Chicago Tribune
  16. Seven Veils
    It’s a lot. Seyfried, who has worked with writer-director Egoyan before on the super-ripe erotic drama “Chloe” (2009), finesses some zig-zaggy tonal swerves confidently and well. The writing, however, wobbles.
  17. The Interpreter
    As beautifully designed, swift and sleek as a classic sports car, throbbing with emotion and intelligence, it's a neat suspense film that's also dramatically and sociologically potent, with two supremely talented stars, Nicole Kidman and Sean Penn, delivering beyond the emotional call of duty.
  18. 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.
  19. The Best Exotic Marigold Hotel
    The attitudes evinced by most of the characters, and the movie itself, are those of the admiring tourist, and as two-hour tours go, The Best Exotic Marigold Hotel goes smoothly.
  20. Restaurant
    Some films, oddly enough, can be too ambitious for their own good, which is the case with Restaurant.
  21. The Abyss
    The Abyss is at its best during such moments of reverie-when the abstract metaphors and the unique physicality of the deep sea setting come together to produce powerful, unvoiced meanings. The film does have its beckoning depths; what it needs is a more polished surface. [9 Aug 1989, Tempo, p.1]
    • Chicago Tribune
  22. The Man Without a Face
    The story is full of good feelings, but as one sits there it all seems so predictable that you can't help but ask the point of it all. [27 Aug 1993, p.C]
    • Chicago Tribune
  23. Lucy
    When everything and anything is possible, nothing feels urgent or truly dramatic. The movie devolves into a melange of digital effects and sequences of glamorous slaughter, as Lucy swaggers around, with that big brain, and slouches toward becoming a full-lipped deity.
  24. Major League
    Major League is a movie that knows what it's up to. It skims along agreeable surfaces, expertly balancing its comedy with melodrama and fulfilling expectations right on schedule. As a movie, it`s a superior industrial product.
  25. The Devil Wears Prada
    It's an occasion for Streep to play against a stereotype, and win. It's a rout, in fact.
  26. Hello I Must Be Going
    There are times when the facile flimsiness of Hello I Must Be Going threatens to float right off the screen. But Lynskey has her ways of surprising us, even when nothing in the script itself is doing so.
  27. The American
    The movie is a paradox. It's ostentatiously restrained. You cannot say Corbijn lacks rigor. You can, however, say that when a talented director's approach too precisely mirrors the tightly calibrated performance strategy of his leading player, a movie risks stalling out completely.
  28. Zoolander
    The main problem is the director-star's choice to play so far beneath his intelligence for so long. Stiller lacks the physical gifts and projected sweetness of, say, Jim Carrey in "Dumb and Dumber," and unlike Peter Sellers in the "Pink Panther" movies, he can't keep a straight face.
    • Chicago Tribune
  29. 2 Days in New York
    The comedy works some of the time; the pathos, more so. There's an undertow of grief in 2 Days in New York relating to the passing of Marion's (and Delpy's) mother, who died in 2009.
  30. A Midsummer Night's Dream
    Most of the original play's magical speeches are preserved here, and however far this film may seem to stray from the original text, the delights remain. [14 May 1999, Friday, p.A]
    • Chicago Tribune
Page:

Top Trailers

See all »
See all trailers »