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. The Karate Kid
    Jackie Chan co-stars in Morita's old role of the humble maintenance man who coaches the Bullied One. The older Chan gets, the simpler and truer he becomes as a performer.
  2. God's Sandbox
    If you're looking for purple romance with a social conscience, it doesn't get much more purple than God's Sandbox.
  3. High Crimes
    It's still a disappointment: a well-mounted and well-acted suspense movie that, thanks to its illogical script, falls off a cliff midway through.
  4. Romance
    A singularly cheerless trip, explicit but sterile, racy but dull.
  5. The Pink Panther
    This Pink Panther really doesn't have to achieve the heights of the original; it just has to be funny on its own terms. But it pales there too. Kline, a master of comic hypocrisy, deserves more screen time, Emily Mortimer is wasted as Clouseau's adoring assistant Nicole and Knowles is over indulged as Xania.
  6. Trolls
    There's something about the neon-tinted, sugar-smacked highs of Trolls that can be bizarrely infectious. When it's weirder, it's better, and there are elements of the animation design seemingly inspired by old 1970s cartoons and children's shows like "H.R. Pufnstuf."
  7. Crazy Love
    Pugach's selfishness, his inability to detach love from gratification, is the key to this crazy story.
  8. Den of Thieves
    It’s a sidewinding but often effective L.A. crime thriller saddled with the wrong leading man.
  9. The Providence Effect
    For the film to be truer to the school’s reputation, it would have had to dig a little deeper.
  10. Asylum
    Natasha Richardson glides through the film version of Patrick McGrath's novel Asylum in various states of fear, desire and undress, a swan among Yorkshire frumps.
  11. Nocturama
    Much like Bonello’s previous film, “Yves Saint Laurent,” Nocturama revels in pure experience. But the sum total of its gliding abstractions is a mite brainless.
  12. Enough
    One of those movies that starts like a house afire, catches you firmly in its narrative grip and then suddenly blows itself out, not really going out with a whimper but with a big, bad, ludicrous bang.
  13. Fred Claus
    Fred Claus seems a clever installment, not a seasonal classic, a buffet whose many nibbles you sample, move on and quickly forget.
  14. Wuthering Heights
    Arnold's interpretation is taciturn, often entirely without dialogue, though it becomes increasingly conventional in its scene structure as it goes and as the actors hand off the key roles. In reality it's a bit of a slog. ... The movie plays like an idea for a 'Wuthering Heights' adaptation.
  15. Sicario: Day of the Soldado
    At its mean, snakelike best, it’s also a brutally assured commercial action picture, unburdened by the moral qualms or unnerving ambiguity of its predecessor.
  16. Team America: World Police
    Team America's strengths are in its musical numbers, especially Kim Jong Il's mournful "I'm So Ronery" (translation: "Lonely"), a heartfelt peek into the dictator's soul.
  17. Freeze Me
    The whole movie plays like an improbable blend of "Repulsion," "High Noon" and the archetypal low-budget rape/revenge shocker "I Spit on Your Grave." Queasy audiences beware, but midnight-movie bookers take note.
  18. Fired!
    A pleasant, leisurely 71 minutes, frequently beguiling thanks to Gurwitch's soft-sell version of the urbane, Second City-esque female noodge.
  19. Howl
    It's well-crafted, but I wish the film showed us an additional dimension or two of the central figure, who once said the great challenge in writing, any kind of writing, is "to write the same way you are."
  20. Players
    Players is a perfectly fine — occasionally better-than-fine — romantic comedy starring well-known TV actors who know their way around this kind of material. It’s light and bouncy. There’s plenty to like here.
  21. The Patriot
    As a whole, though, the movie is much less magnetic or believable than its star.
  22. Death on the Nile
    I liked Death on the Nile a fair bit more than Branagh’s previous Christie film, partly because it’s a less predictable and schematic narrative to begin with, and partly because Branagh the actor has a way of outfoxing his own pedestrian direction.
  23. Hacksaw Ridge
    Vince Vaughn, plainly enjoying himself, plays his casually astonished sergeant, who encourages hazing and beatings of Doss.
  24. Creed II
    By the end, the movie has become a shameless and, yes, effective ode to fathers and sons everywhere.
  25. Back to the Beach
    It's a light, slight premise that seems more suited to a Saturday Night Live sketch than a full-length movie, but it plays pleasantly enough in its video incarnation, where modesty sometimes can be a virtue.
  26. Katyn
    Katyn will not join Wajda's list of masterworks. In its final flashback, however, when we're taken back to the forest and the details of what really happened, we see what we must see, the clear-eyed way we should see it.
  27. Sade
    A fine, handsome-looking costume drama that works best as a historical account of a brutal era. But as a portrait of the Marquis de Sade, it is not titillating in the over-the-top manner of "Quills."
  28. Full Frontal
    It's a weird little movie that's amusing enough while you watch it, offering fine acting moments and pungent insights into modern L.A.'s show-biz and media subcultures. But it doesn't leave you with much.
  29. Young Woman and the Sea
    Based on Glenn Stout’s nonfiction account of the same title, “Young Woman and the Sea” gets by on the careful engineering of clichés, Daisy Ridley and a really good piece of irresistibly rousing history.
  30. I'll See You in My Dreams
    Songwriter bio on Gus Kahn (Danny Thomas); Day is his long-suffering mainstay. [13 Apr 2007, p.C5]
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