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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    • 58 Metascore
    • 75 Critic Score
    The Coca-Cola Kid
    It ambles along gracefully, picking up points for subtle detail; but its conventions belong to light comedy, and they overwhelm most of the complexities the director has devised.
  2. The Triumph of Love
    The artifice may be ancient, but the thought and emotions -- and especially Sorvino -- are beautifully, refreshingly modern.
    • 58 Metascore
    • 50 Critic Score
    NASCAR: The IMAX Experience
    True fans (i.e., the people who are most likely to buy tickets) probably know a lot of this stuff already, and they might be disappointed by the lack of drama and the brevity of 3-D racing action.
  4. The Fast and the Furious
    There's some undeniable appeal to watching a well-oiled, built-for-speed machine operating with its pedal to the metal -- even if it's destined to wind up in flames before the finish line.
  5. Brian Banks
    Brian Banks proceeds non-chronologically, toggling between high school years and Banks’ post-prison life. This helps keep the audience on its toes. But it’s the actors who complicate things most fruitfully.
  6. Oliver & Company
    The musical voices belong to Billy Joel and Bette Midler, respectively, but this material is far afield of their best work. As a result, a Chihuahua (voice by Cheech Marin) steals the movie with wisecracks. [18 Nov 1988, p.A]
    • Chicago Tribune
  7. To the Wonder
    Malick is a true searcher, true to his preoccupations and definitions of soulful rhapsody. To the Wonder repeats its central motifs aplenty, yet you may find yourself thinking about life, and living, and love, while sorting through the movie. Even if it drives you nertz.
  8. Fame
    A high school version of A Chorus Line, following a half-dozen talented students at New York High School for the performing arts as they try to become show-biz stars. When the kids perform, the movie sings, but their fictionalized personal stories are melodramatic drivel. [11 July 1980, p.8]
    • Chicago Tribune
    • 58 Metascore
    • 88 Critic Score
    Steep
    Steep is one of those rare endeavors able to touch on the human condition without neglecting the film’s true star: big-mountain skiing.
  10. The Accountant 2
    Given its premise, you wouldn’t expect The Accountant 2 to go for quite so much buddy comedy, but life is full of surprises.
  11. Hitch
    The movie, like Hitch, tries to be cool, funny and sweet but falls on its face without generating any real sympathy, smarts or humor.
  12. Operation Finale
    Unfortunately, Operation Finale feels a bit behind the ball when it comes to the dramatic true story.
  13. The Prize Winner of Defiance, Ohio
    No one expects documentary realism in these memoir-to-movie transfers. It's reasonable, however, to expect more vibrant and expressive fictionalized treatment than this.
  14. Before I Fall
    As Sam, Deutch is supported by the likes of Halston Sage as uber mean girl Lindsay, using her armor as a weapon, Logan Miller as longtime pal Kent, and Medalion Rahimi and Cynthy Wu as the rest of her clique. But this is Deutch's film.
  15. August: Osage County
    See the play sometime. It cooks; the movie's more of a microwave reheat.
  16. It: Chapter Two
    There’s more deliciously creepy anticipation in “Chapter Two,” but once again, Muschietti buttresses up the spook factor with too many computer-generated monsters that inevitably become banal. Through it all, Hader cracks wise, Ransone worries, Chastain emotes, McAvoy broods and monsters jump, but we lose the most important thing of all: the Losers themselves.
  17. Twice in a Lifetime
    Io its credit, the film has a surprising and likely to be controversial ending. It creates moments of genuine tension that take us beyond the issue of who is more at fault and into the deeper question of what does a lifetime of commitment really require?
  18. The Mist
    Good and creepy, The Mist comes from a Stephen King novella and is more the shape, size and quality of the recent “1408,” likewise taken from a King story, than anything in the persistently fashionable charnel house inhabited by the “Saw” and “Hostel” franchises.
  19. F9: The Fast Saga
    While I wish the story and the banter had some snap (Groot had better dialogue, speaking of Vin Diesel movies), and while I wish the electromagnet-derived mayhem in F9 led to a truly magnetic movie, sometimes good enough is enough.
  20. X-Men: The Last Stand
    Disappointingly, X-Men: The Last Stand slides back between the first two episodes. It's not stuporous, and it's not super.
  21. Jarhead
    Inner dialogue is a hard sell on screen.
  22. Cosmopolis
    I just wish Cronenberg hadn't adapted the book on his own. Behind the camera, he does remarkable things, turning Packer's limo into what Cronenberg himself has described as an upscale version of "Das Boot." But the playlets constituting the whole are thick, stubbornly undramatic affairs; the verbiage is lumpy, self-conscious.
  23. Class Action
    Class Action occupies itself with long passages of family melodrama, most of it as familiar as the courtroom drama but far less entertaining. [15 Mar 1991]
    • Chicago Tribune
  24. Footloose
    The result is a film that feels hidebound. And nobody ever called a dance-driven movie "hidebound."
  25. Jason Bourne
    At its best Jason Bourne crackles with professionalism; at its worst, it's rehashing greatest hits (as in, "assassinations") from earlier films, with a lavish budget.
  26. 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.
  27. Kansas City
    Kansas City is a wonderful film, done with all Altman's offbeat virtuosity, maverick humor and creative daring -- plus the acid nip that runs through all his recent works.
  28. Year of the Horse
    Fans of Young's rocking excursions with Crazy Horse -- as opposed to his more polished pop, folk and country-tinged work -- should have a gas at Year of the Horse. [17 Oct 1997, p.F]
    • Chicago Tribune
  29. Disclosure
    Disclosure is pure and simple trash masquerading as significance. [9 Dec 1994, p.B]
    • Chicago Tribune
  30. Tuvalu
    It is filled with imposing and beautiful imagery, though it becomes increasingly monotonous.
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