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 Butterfly Effect
    Kutcher delivers a credibly serious performance as Evan, and he's surrounded by a skilled supporting cast.
  2. Prom
    The cast's newcomers mix and mingle with ease with the hardened alums of Disney and Nickelodeon TV series.
  3. Blade: Trinity
    Thankfully, Reynolds (bearded, looking a bit like Jason Lee) adds some scrappiness and humor to a series that might otherwise have collapsed under self-parody.
  4. Tales from the Crypt: Demon Knight
    It's not classic horror, but it'll do. [13 Jan 1995, p.18]
    • Chicago Tribune
  5. A Lion Is in the Streets
    James Cagney had his crack at a Huey Long-like character in this overlooked 1953 feature directed by Raoul Walsh; the film suffers from a near-complete lack of originality but Cagney and Walsh, here as always ("The Roaring Twenties," "White Heat"), strike some sparks together. [01 Nov 1992, p.15C]
    • Chicago Tribune
  6. The King and I
    The animation itself is just OK. And the reworked script, despite some funny one-liners, is pretty much there just to pull the story along to its inevitable conclusion. [19 March 1999, Friday, p. A]
    • Chicago Tribune
  7. Wreck-It Ralph
    I found the first 30 minutes of Wreck-It Ralph a lot of fun, the second and third 30 minutes progressively more routine.
  8. Appaloosa
    It's less a western than a loping buddy picture.
  9. Unfriended: Dark Web
    Perhaps it's no fun because it's just too real. There's never a moment of wondering what is going on.
  10. Lawless
    This should've been a really good picture, especially with Hillcoat's crack ensemble. Instead it's a stilted battle waged between the material and the interpreters. It's up to you, the thirsty customer, to decide who won.
  11. Open Range
    A blend of the classical and the trite, the beautiful and tawdry, the genuinely moving and the cornball. Oddly, producer-director-star Costner often can't seem to tell the difference.
  12. Smile 2
    Smile 2 goes in a newish direction, to frustrating mixed results — but it’s a mixed bag you can respect because it’s not hackwork and it’s trying new things.
  13. Unsane
    It’s a grubby, fairly intriguing genre exercise given a weird, did-it-myself-in-a-hurry visual quality.
    • 47 Metascore
    • 63 Critic Score
    National Lampoon's European Vacation
    Too many scenes in European Vacation peter out about a gag or two short for the film to be as funny as it ought to be. But the basic amiability of the humor is as pleasant as it is surprising.
  15. Kwik Stop
    This is the debut feature for Columbia College graduate Gilio, and it shows great promise.
  16. Ramona and Beezus
    For the record: Josh Duhamel brings some welcome exuberance to the role of the goofball suitor, Hobart. Like Oh, he's fun to watch. This is something never to be underestimated
  17. Breakthrough
    It's one of the more authentically moving entries in the genre, powered by a gripping lead performance from "This Is Us" star Chrissy Metz.
  18. At Any Price
    A roughly mixed but interestingly plotted offshoot of "Death of a Salesman."
  19. Greenland
    If we strip away the comets raining fire on the earth, this film is about how the ways in which how we treat each other can be a matter of life or death. Even in that darkness, it dares to have a little hope.
  20. Run All Night
    Directed, frantically, by Jaume Collet-Serra, written by Brad Ingelsby, Run All Night promises a sprint punctuated by a lot of gunfire, and bleeding, and bodies. Mission accomplished.
    • 41 Metascore
    • 63 Critic Score
    Never Been Thawed
    It has moments of Guest-like faux earnestness that instantly mark it as one of the smartest and most insightful comedies of the year. But imitation only takes you so far, and by the film's sagging final 30 minutes, it's evident "NBT" isn't quite up to the master's standards.
  22. Welcome Home, Roxy Carmichael
    The character played by Ryder is really the centerpiece of the story, and she is the best part of this slight story...The rest of the movie is a fairly standard portrait of small-town life, with characters in more pain than is typical of such films. [12 Oct 1990, p.C]
    • Chicago Tribune
  23. Wonder Woman 1984
    It’s a moderately diverting sequel. That means it’s also a distinct drop down from the 2017 origin story.
  24. Bohemian Rhapsody
    It's the centrifuge around which the rather uneven film whirls, and Malek keeps it going with his sheer will and talent, aided by a parade of legendary Queen hit singles.
  25. No Man's Land
    No Man’s Land is an interesting twist on the border drama, daring to depict Mexico as complex and nuanced country: welcoming, fascinating and menacing in equal parts. But the story still centers a white male experience and hero’s journey.
  26. I Think I Love My Wife
    The results fall short of the grown-up comedy about seven-year itches it could've been, asking the Hamlet-like question: to scratch or not to scratch?
  27. The Recruit
    It suddenly morphs into one more overly slick, empty show.
  28. Tully
    At its spiky, intermittent best, Tully is the best work Cody has done in the conventional feature format since “Juno.” And yet I’m all over the place on it.
  29. Fahrenheit 11/9
    An emotional and intellectual roller coaster. Moore swings for the fences, as he usually does. But the film, done in Moore's traditionalist maximalist style, is overblown and overstuffed with editorial indulgences. It's clear that stylistically and structurally, less should be more for Moore.
  30. Salmon Fishing in the Yemen
    The film's occasional toe-dips into real-world politics, sectarian conflict and the horrors of war are demure and unruffling. What's missing is a point of view beyond Hallstrom's interest in making his actors look as attractive as possible.
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