Chicago Tribune's Scores

Select another publication »
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
view
per page
    • 68 Metascore
    • 63 Critic Score
    North Country
    A potentially great movie--with talent and plot points to spare--that settles for being just okay.
  2. Song to Song
    Frequently maddening in its reiteration and circularity, Song to Song nonetheless offers more of interest (along with the hooey) than I found in "Knight of Cups" or "Voyage of Time," his recent IMAX cosmos travelogue.
  3. Birthday Girl
    A paper-thin wish-fulfillment comedy about escaping small-town repressions and blasting conformity.
  4. Lunacy
    While Lunacy leaves you with the impression that Svankmajer is more expressive with cutlets than he is with his atypically human-dominated dreamscape, some of the images are doozies.
  5. Escape Plan
    Stupid but fun.
  6. Kurt Cobain About a Son
    Near the end, we hear Cobain reveal his disdain for adults who “can’t even pretend, or at least have enough courtesy for their children, to talk to one another civilly.” A painful and unexpected moment.
  7. The Marvels
    Too often the movie’s franchise mechanics and green-screen overload have a way of dragging “The Marvels” into generic sequeldom. But the stars give us something to hang onto, even if Larson — so good in so many films — has yet to master the useful trick of looking neutral yet invested in her many, many reaction shots.
  8. Admission
    There's a good movie in this story. The one that got made is roughly half-good.
    • 34 Metascore
    • 63 Critic Score
    Snow Day
    Succeeds in bringing the best attributes of Nickelodeon TV to the big screen.
  10. The Odd Life of Timothy Green
    Hedges is a determined romantic and a bit of a saphead. He's also humane.
  11. The Guest
    When the secrets of David's circumstances and motives start spilling into the daylight along with more and more blood, The Guest does a strange thing. It becomes flat-footed and a bit dull.
  12. Autumn in New York
    So laden with forced plot twists that it will never be able to recover.
    • Chicago Tribune
  13. Love Liza
    Louiso has a confident touch and a good eye, and there isn't a scene in the film that wasn't intelligently done. Besides Hoffman's near-great performance as Joel, there isn't a bad or mediocre acting job on view either.
  14. Brothers at War
    Made with the full cooperation of the Pentagon, Brothers at War makes the war on-screen seem eminently winnable, eminently noble. Rademacher's desire to prove himself to himself, and to his soldier brothers, may stir different reactions among different audience members. And that's as it should be.
  15. Sword of Trust
    A glass three-fifths full, writer-director Lynn Shelton’s affable comedy Sword of Trust gets by on the improvisational wiles of its cast.
  16. Candy
    The way director and co-adapter Armfield shoots it, the film's awfully pretty in its grimness, in the way "Leaving Las Vegas" managed to make train-wreck alcoholism more fake-lyrical than grungy.
  17. This Is Where I Leave You
    Thing is, Levy is a hard-sell man. He pushes the material so hard, it's as if he were working on commission.
  18. Puccini for Beginners
    Considering how good "Puccini's" middle often is, it's a shame it falls down fore and aft. But Maggenti, who loves Carole Lombard and William Powell in "My Man Godfrey," is tapping a likable vein here. She should open it up again.
  19. Memories of Tomorrow
    By the time Watanabe encounters a holy senile fool in the forest, the film has foregone contemporary urban “King Lear” territory for something a lot closer to the Lifetime Channel.
  20. Runaway Train
    Although the film isn't an empty picture, it is too much of a good thing. Voight delivers a wonderful speech to Roberts about survival, but it's only one of many such monologues. Similarly, Roberts is tiring in his frantic reactions.
  21. The Way Back
    With The Way Back, Ben Affleck didn’t have to deliver his biggest or most attention-getting performance, simply — and simplicity is hard — his truest.
  22. Nuremberg
    While the subject matter makes Nuremberg worth the watch, the film itself is a mixed bag, with some towering performances (Crowe and Shannon), and some poor ones. It manages to eke out its message in the eleventh hour, but it feels too little too late, in our cultural moment, despite its evergreen importance.
  23. Pineapple Express
    Around the midpoint, Pineapple Express falls apart and keeps falling, and the comedy, spiced with considerable, unevenly effective violence in that first hour, goes out the window, and in comes all the gore and the bone-crunching.
  24. Saving Grace
    Whimsy and wit are the saving graces of much British movie comedy, and Saving Grace has a decent measure of both.
  25. Shrek
    Alternately sweet and mean, sophisticated and vulgar, witty and base, dazzling and ugly, charming and charmless.
  26. Wall Street: Money Never Sleeps
    Has its satisfactions, thanks mainly to a cast skillful enough to finesse what is effectively two films sharing the same screen.
  27. Capitalism: A Love Story
    At its best, this uneven work represents Moore at the peak of his argumentative skills.
  28. The Croods
    At least there's Cage, who has become an astute voice actor, finding some odd, clever, energetic line readings consistently fresher than The Croods itself.
  29. Oliver Twist
    Filming on locations in Prague and in various Czech locations serving as London and the English countryside, the director delivers Dickens' tale with some style. The style, however, is that of a more cautious artist than Polanski is at his best.
  30. Body Snatchers
    The movie takes paranoia to a far edge. And some audiences will admire it simply because it doesn't waste time on the normality it's going to end up subverting-because it's more fixated on its pods than its people. [25 Feb 1994, p.C]
    • Chicago Tribune
Page:

Top Trailers

See all »
See all trailers »