Chicago Tribune's Scores

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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
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    • 60 Metascore
    • 50 Critic Score
    Go for Zucker
    It remains a diverting, mildly entertaining movie, far short of provoking the controversy (or hysterical laughter) it apparently prompted during its release in Germany.
  2. Gifted
    This contrived mashup of "Proof" (earth-shaking algorithms), "Kramer vs. Kramer" (nerve-wracking custody battles) and "Little Man Tate" really isn't much.
  3. Lone Survivor
    Wahlberg remains one of our most reliable and least actorly of movie stars, innately macho but vulnerable enough to seem like a human being caught in an inhuman situation.
  4. Bandits
    The picture is written and acted as a lark and a romp.
  5. Rare Birds
    Rendered bland and frustrating by its endless attempts to make the odd odder.
  6. Treasure Planet
    Combining cutting-edge computer animation with traditional two-dimensional characters, Treasure Planet pops off the screen, reviving Stevenson's adventure with surprising accuracy.
  7. House of Gucci
    We often take a talent like Scott’s for granted. He’s truly gifted in the realm of period pictures, all kinds; next up is a Napoleon epic starring Joaquin Phoenix. In House of Gucci, he sees the material as a cautionary, globe-trotting tale of greed, no less, no more. The movie does the job without diving too far beneath any of its lovely surfaces.
  8. Middle Men
    Who would have believed a film with this much skin and reckless, life-threatening excess could end up a rather dull muddle?
  9. Being the Ricardos
    Sorkin’s approach is to focus on the things that are happening rather than to inquire as to the contours of Lucy or Desi’s internal monologues, and so they remain unknowable, moving through a biopic that offers little more than an exercise in re-enactment.
  10. Bad Moms
    Bad Moms keeps settling for less than it should, given the talent on screen. It's lazy, and tonally indistinct; half the time you wish it went further, and risked something with the Kunis character. The other half of the time you may find yourself frustrated with the puerile caricatures filling in the margins.
  11. Mamma Mia! Here We Go Again
    Much like its predecessor, Mamma Mia! Here We Go Again is escapist fluff of the highest order — joyful, filled with beloved pop songs and incredibly bizarre. Go ahead and treat yourself to this raucous seaside summer confection, you deserve it.
  12. Nell
    There's something so charged and beautiful about Jodie Foster's performance as a Smoky Mountains wild child in Nell that it carries you past a lot of glossy bumps in the movie. [23 Dec 1994, p.C]
    • Chicago Tribune
  13. True Romance
    A stupid, stylized road picture. [10 Sept 1993]
    • Chicago Tribune
  14. Celeste and Jesse Forever
    Jones is first-rate (and her fellow writer McCormack is fun as the wild-eyed pot dealer, Skillz). The film has a conventional fake-documentary look, but underneath it is an honest concern about how to learn to treat people well and kindly after the end. Or to get to an ending, or a new beginning, in the first place.
  15. Under the Same Moon (La misma luna)
    An estimated 4 million Latinas leave one or more children behind when they travel north to find work. They deserve a more nuanced film, but this one’s often affecting.
  16. Fantasia 2000
    Though not as good or as massively innovative as its predecessor, is still a mountainous undertaking.
    • Chicago Tribune
  17. The Perfect Storm
    Unabashedly designed to blow its audience away.
  18. Only the Strong Survive
    The frustrating part is that Only the Strong Survive includes at least as many mundane moments as soul-stirring ones -- and the film isn't much more than a collection of moments.
  19. Big Eden
    By creating a kind of politically correct version of Andy Griffith's "Mayberry," director Bezucha has drained the movie not only of bigotry but also of dramatic conflict.
    • Chicago Tribune
  20. The Rundown
    Has what we usually want to see in movies like this: bravura action, tongue-in-cheek humor, but most of all attitude.
  21. Ping Pong
    There's nothing particularly original or striking about Ping Pong except its style. It's a breezy, likable story, and the director here, Fumihiko Sori, obviously enjoys his work.
    • 59 Metascore
    • 63 Critic Score
    Gunnin' for That #1 Spot
    Yauch clearly understands this world, but his film would have profited from looking more deeply at fewer players.
  23. Beowulf
    Beowulf is all right as far as it goes, and it goes pretty far for a PG-13 rating: Dismemberment, “300”-style blood globules comin’ atcha, and a digitally futzed and, for all practical purposes, completely naked!!!
  24. White Boy Rick
    Director Yann Demange's film White Boy Rick balances these details, both outlandish and intimate, carefully.
  25. The Last Mimzy
    The sense of the unknown that "Padgett" created are largely absent. And the movie fails to supply us with an antagonist to work up some dramatic conflict. Nor are the toys themselves very interesting and Mimzy is a toy bunny of no distinction.
  26. Breakfast on Pluto
    Some road pictures take you somewhere. Breakfast on Pluto, from its archly poetic title on down, promises a lulu. Yes, well. Promises, promises.
  27. Spider-Man 3
    You want big wows with this sort of entertainment, and the wows here are medium.
  28. Mission: Impossible II
    Blanks, in a sense, are what M:I-2 is firing. You see the flash, you hear the bang, but the impact never comes.
  29. Mom and Dad
    Mom and Dad may be a blood-soaked lark of uneven quality, but it has the good sense to use Reagan Youth’s punk anthem “Anytown” as an accompaniment to Cage’s parental … change of heart, let’s call it.
  30. Unbroken
    Rightly, Jolie didn't want to tell the man's entire life story. But as is, at too-convenient dramatic junctures, the screenplay darts back into flashbacks of Zamperini's childhood or young adulthood, when we should really be sticking with the crisis at hand.
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