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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    • 64 Metascore
    • 63 Critic Score
    Come Early Morning
    Artfully shot and excruciatingly honest, the movie has great intentions but can't quite overcome its outsized sense of self-importance.
  2. This Is 40
    It displays a growing sense of fluidity and craft [from Apatow]. ... But much of the script feels oddly dishonest and dodgy.
  3. The Komediant
    Able to provide insight into a fascinating part of theater history, spanning from Russia to the New York Catskills.
  4. The Skeleton Twins
    And it's too bad The Skeleton Twins settles for tidy, slightly hollow narrative developments. The performers are ready to rip. For many they'll be enough.
  5. Angel-A
    So stunningly shot and visualized--and scored so hauntingly well by Anja Garbarek, the daughter of saxophonist/composer Jan Garbarek--that it works even if you don't pay attention to the story. Maybe it works better that way.
  6. Blood Done Sign My Name
    The actors do a lot to dimensionalize the material. Parker's Chavis is especially sharp, creating a man with a subtly burning fuse.
  7. Black Rock
    It's quite thin, but at least Black Rock plays its "kills" for more than stupid gamer's diversions.
  8. Insidious: Chapter 2
    The sequel's not bad; it's not slovenly. Some of the jolts are effectively staged and filmed, and Wan is getting better and better at figuring out what to do with the camera, and maneuvering actors within a shot for maximum suspense, while letting his design collaborators do the rest. But Leigh Whannell's script is a bit of a jumble.
  9. Jack Reacher
    McQuarrie... is a real writer; his banter has snap and bite. His directorial skills are still catching up with his writing skills; the movie loses steam in the final half-hour.
  10. Money Monster
    Foster's direction, aided by cinematographer Matthew Libatique's sharp, clean light, is the most fluid and well-considered of her career. The script is an asset, too. Until it becomes a mixed-bag liability.
  11. Richard III
    By translating the voluptuous Elizabethan sensibility to the drier post-Edwardian era, and then cutting much of the play's great rhetoric and poetry, McKellen and Loncraine actually flirt with ennui rather than excitement. [19 Jan 1996, p.C]
    • Chicago Tribune
  12. My Best Friend
    For all its silliness and negligibility--a finale involving the Parisian "Who Wants to be a Millionaire?" is one of its sillier, more negligible elements--My Best Friend is an amusing reinvention of "The Odd Couple."
  13. Tom Clancy’s Without Remorse
    Thanks to the director, what they do makes for painless “avoidance viewing” — something to kill 100 minutes or so while you’re avoiding something else, delivered in an impersonal but not unskillful manner.
  14. Child's Play
    This is a brutally violent reset on the '80s franchise that ultimately became a punchline, but while it goes big on gore and atmosphere, Child's Play doesn't muster up any actual scares.
  15. Arlington Road
    A classy but over-contrived topical thriller about bomb plots and anti-government groups.
  16. The Young Karl Marx
    The actors do most of their best work in between the lines. Krieps, especially, provides a subtle symphony of feeling, even as her role confines her to a prescribed range of narrative support. Director Peck’s work is handsome; what it lacks is a true sense of danger, a feeling of history roiling in the present tense.
  17. The 13th Warrior
    Has a remote feel. It sometimes impresses but never soars.
    • Chicago Tribune
  18. Once in the Life
    Strong, hard, dirty, funny, moving atmospheric and laced with scabrously musical street dialogue.
  19. 30 Minutes or Less
    The movie ends up being just sharp enough at its peaks to be frustrating in its valleys. But the laughs are there.
  20. Crime 101
    Crime 101 overstays its welcome and is rife with bland story filler, but there’s no denying that it is handsomely made and rarely boring, offering the nominal pleasures of a good-looking serious adult crime drama, which is all too rare these days.
  21. Renaissance Man
    We know exactly where this picture is going at all times. Holding our attention, however, is a cast of fresh talent among the trainees. [03 Jun 1994]
    • Chicago Tribune
  22. Moonlight Mile
    The movie doesn't really jell. Glossy, good-looking and well-produced, it affects you and even sometimes moves you, but it doesn't really convincingly connect.
  23. The Men's Club
    So the bad news about The Men's Club is that it leans heavily on cliche; the good news is that it treats the cliche with elan and it doesn't waste a splendid cast. [24 Sept 1986, p.4C]
    • Chicago Tribune
  24. War Horse
    Take the theatrical flourish away from this story, however, and the story's thinness becomes apparent.
  25. Chef
    Favreau's masterly light touch as an actor hasn't yet translated to a similarly deft offhandedness behind the camera. The movie, slick and shallow, is fairly entertaining anyway.
  26. Heights
    These are not people me and you and everyone we know know--these are "short version" people, characters who comfort each other by quoting Shakespeare.
  27. Something from Nothing: The Art of Rap
    The interviews are often revealing and funny. And much of the music is tremendous.
  28. Spontaneous
    Spontaneous allows Langford’s Mara, blasé swagger incarnate, and Plummer’s stealth charmer enough unaffected sincerity to make it stick. Onto that sticky stuff, the script applies comforting reminders: Stuff happens. We don’t know how long we have. Seize the day.
    • 75 Metascore
    • 63 Critic Score
    Pearl Jam: Let's Play Two
    As an affirmation of one famous fan’s dedication, “Let’s Play Two” works well enough. As a Pearl Jam documentary, not so much.
  30. A Haunting in Venice
    Branagh’s portrayal of a somewhat older and wearier Poirot, muted but carefully calibrated, remains two steps ahead of Branagh’s direction.
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