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. Crimes of the Future
    Rhythmically Crimes of the Future maintains a rigorous sense of calm throughout, which can get a little pokey in some scenes. But Mortensen, Seydoux and especially Stewart invest fully, so some of us, anyway, can too.
  2. Q & A
    Watching the systemized corruption of Q&A is like watching a traffic accident in slow motion: You can't take your eyes away from the broken bodies and spirits.[27 Apr 1990, p.C]
    • Chicago Tribune
  3. Captain Marvel
    It’s fun. In various ways, some better than others, you can tell the film was made by people who weren’t mapping out their entire careers to lead to the big moment when they tackle a Marvel Cinematic Universe franchise.
  4. District 9
    Some movies pack such a terrific central idea, even their flaws can’t stop the train. District 9 is one of them.
  5. Control Room
    Control Room isn't a systematic dissection of Al Jazeera's possible biases regarding the U.S. or Israel; it's noted that Arabs almost invariably view the war with Iraq in the context of the Israeli-Palestinian conflict while Americans rarely do.
  6. Civil War
    I found it coldly gripping, as well as a mite ham-fisted. At its best, this vision of American end times, an election or two from now, sets aside its less persuasive “tell” for more persuasive “show,” without generic spectacle (though with a $50 million production budget, it’s Garland’s and distributor A24’s biggest gamble to date) or diversionary thrills.
  7. Snow White and the Huntsman
    This is a violent film. It's rougher, in fact, than "The Hunger Games."
  8. The Stanford Prison Experiment
    It never should've been OK'd in the first place and never should've gotten past the first day. This has a mixed effect on the movie itself, which inevitably fights against its own sense of dulled outrage and methodical role-playing. But it's pretty gripping all the same.
  9. Tequila Sunrise
    As a screenplay Tequila Sunrise is a very impressive piece of work. But as a movie, it's knotty and confused. [2 Dec 1988, p.B]
    • Chicago Tribune
  10. Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn)
    Christina Hodson’s script is a madcap, irreverent roller coaster ride, the story relayed in a loopy, looping, nonlinear fashion through Harley’s hyperactive storytelling style.
  11. The Rocker
    It's a lot of fun. Its spirit is genuine and, even with the odd vomit gag, fundamentally sweet.
  12. Working Man
    Anything made well in advance of the pandemic feels like a weird period piece these days, of course, yet Jury’s small, affecting picture fits snugly within the pandemic realities of 2020.
  13. No Time to Die
    As bittersweet farewells go, this one’s quite good.
  14. Love Me If You Dare
    It's a pitch-black, Grimm Brothers-style fable that enchants, frustrates and ultimately dares you to love it. Even if you don't, you'll be riveted.
  15. Unknown White Male
    Equally fascinating and frustrating.
    • 69 Metascore
    • 75 Critic Score
    Absolute Wilson
    Not only does this film offer a comprehensive portrait of a fascinating and underexplored leader of the American avant-garde in the late 20th Century, it ends up making some compelling connections between his works and the rich, occasionally self-destructive trajectory of the life that forged them.
  17. Happy Feet
    A lot of director George Miller's film is gorgeous and exciting. Its craftsmanship and ambition put it a continent ahead of nearly every other animated feature of the last couple of years.
  18. Suffragette
    The torment that Maud is put through is devastating, but Suffragette, as a film, often robs itself of its own emotional power.
  19. The Hours
    Cunningham's and Woolf's novels are dedicated to capturing a person's essence through the events of a single day, and Daldry's film is faithful to that aim. But the range of life presented here feels constricted; the movie misses the sublime for all of the despair.
  20. The Hunger Games
    The games have begun, and so far they're pretty gripping.
  21. 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.
  22. Lethal Weapon
    These extremely attractive characters deserve a better finish. [8 May 1987, p.7-D]
    • Chicago Tribune
  23. Glastonbury
    Best of all though, we get to experience the whole fest itself, over four turbulent decades-an era from which Glastonbury, like Woodstock in its day, offers a halcyon "timeout."
  24. Crazy/Beautiful
    Stockwell deserves kudos for working mental illness into a teen story without making it the explicit focus, as in simplistic exercises like "Girl, Interrupted."
    • Chicago Tribune
  25. Dead Snow
    May have a dull title, but it's lively, idiotic fun, at least until it goes too far past "too far" into the realm of "far too far."
  26. Facing Windows
    Ozpetek brings a straight love story and world politics into the mix, but it's his brilliant cast which completes the connection.
  27. Raising Arizona
    The film has an easy target in poking fun at rural folks, but it also has a warm message about individuality. It's also beautifully photographed. [8 May 1987]
    • Chicago Tribune
  28. Furiosa: A Mad Max Saga
    Is the movie fun? Well, Furiosa’s story doesn’t really welcome that word. It’s gripping, even when it’s a bit of a trudge. Miller’s a visual genius. And a pile-driver. He’s also an adult, with a mature master filmmaker’s sensibility and serious intentions to go with his eternal-adolescent love of speed and noise.
  29. Tarzan
    As a ride, this Tarzan succeeds. As a pop myth, it needs more jungle fever. [18 June 1999, Friday, p.A]
    • Chicago Tribune
  30. Our Brand Is Crisis
    Jane is a genius, but she's deeply flawed and complicated, struggling with substance abuse, mental illness, her own past regrets. That dark underbelly adds depth and dimension to the ironic humor of Our Brand is Crisis.
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