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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  1. Powaqqatsi
    Director Godfrey Reggio gives us some ordinary and a few spectacular shows of people doing hard work to the accompaniment of the boring music of composer Philip Glass. This film is not in the same league with its fine predecessor, "Koyaanisqatsi." [20 May 1988, p.A]
    • Chicago Tribune
  2. Bossa Nova
    A breezy, elegant charmer of a movie.
    • Chicago Tribune
  3. The Red Violin
    Although not all of the movements are fleshed out to their full potential, The Red Violin still attains a certain symphonic grandeur that -- at a time when so many filmmakers are churning out cinematic ditties -- deserves to be applauded. [18 June 1999, Friday, p.A]
    • Chicago Tribune
  4. 13 Going on 30
    Plays like it was made by people who are 30 going on 13. The movie is as flighty and mixed up as the adolescent girl at its center.
  5. Mr 3000
    Commits the cardinal sin of not being quite as funny as its star.
  6. Whiskey Tango Foxtrot
    While it's no disaster, it's oddly indistinct and uncertain.
  7. Fifty Dead Men Walking
    Sharp, well-acted film.
  8. The Broken Hearts Gallery
    The lush production design by Zazu Myers, especially in the Chloe Hotel, and rich cinematography by Alar Kivilo make for a colorfully saturated fantasy of New York City that elevates the film. This is a big, juicy rom-com that has proven to be a rare entity these days on the big screen.
  9. How I Live Now
    Imagine a Judy Blume rewrite of Cormac McCarthy's "The Road," and you'll end up somewhere in the ashen yet uplifting vicinity of How I Live Now.
  10. Kinky Boots
    Directed by Julian Jarrold and co-written by Tim Firth ("Calendar Girls"), the movie is quite enjoyable, effortlessly well-done on every level, even moving at times, but relatively light weight.
  11. Our Kind of Traitor
    I don't the think the "look" is quite right for the story. Nor is the dreamy, wandering score by Marcelo Zarvos, which adds the blandest sort of ambient "tension music" to whatever's going on. McGregor struggles to make Perry credible in his credulousness; Harris, far better, doesn't have enough to do; Skarsgard is fun.
  12. Just One of the Guys
    Joyce Hyser is fine as the male and female Terry, but since "Tootsie" is now the standard in these matters, the makeup job on Hyser as a guy should have been much more convincing. Not for a minute do we forget she's a girl. [30 Apr 1955, p.4C]
    • Chicago Tribune
  13. Smart People
    Church is most at home in his character’s skin; aside from the game but strident Quaid, all the leading players are ideally cast. It’s the script that isn’t ideally cast.
  14. 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.
  15. Uncle Drew
    It’s fun to hang out with these people for a while.
  16. The Fourth War
    Part philosophical dialogue, part macho thriller, John Frankenheimer's The Fourth War never really finds its identity as a movie. [23 Mar 1990, p.O]
    • Chicago Tribune
  17. Katy Perry: Part of Me
    When you see and hear so many fans of so many backgrounds expounding on what "Firework" means to them, you realize that while a song may or may not be for you, it most certainly is for others.
  18. Flesh and Bone
    The acting is terrific, understated and pungent, especially Quaid's and Ryan's performances. [05 Nov 1993, p.I]
    • Chicago Tribune
    • 57 Metascore
    • 25 Critic Score
    The Grand
    It’s hard to believe that a lineup so stellar could generate so few laughs, but there it is.
    • 57 Metascore
    • 50 Critic Score
    The Forbidden Kingdom
    It's perhaps best suited for genre vets who can be satisfied with spot-the-reference games and Chan and Li's chemistry, or for undiscriminating kids who'll enjoy the "Karate Kid" vibe. But it's less a culmination of Li and Chan's careers than a passable footnote to better things.
  21. Albert Nobbs
    The play itself, some felt, was static. The charge I'm afraid will stick to the film version as well. But the acting is considerable compensation.
  22. The Human Stain
    The Human Stain has those qualities we often want but rarely see in our films: intelligence and ambition, decency and humanity, poetry and pity, fire and ice. Watch it and weep.
  23. Southpaw
    Does it succeed? Sort of. It helps if you don't mind your boxing movies made up of massive granite chunks of previous boxing movies.
  24. Extraction 2
    Though based on a graphic novel, both movies have the feel of a first person shooter video game. Hemsworth’s physical stature does a lot of the heavy lifting, literally and otherwise, but Tyler is not a character so much as an avatar.
  25. Shirley
    At one point King, as Chisholm, resists the advisors’ pleas to simplify her “messaging” (was that word in circulation 52 years ago?) by saying: “I am not leaving out the nuance!” In “Shirley,” the top-shelf actors aren’t, either. Even if their material does.
  26. Anniversary
    Anniversary is a deeply nihilistic film that can’t be described as a cautionary tale — that horse has left the barn. Rather, it’s a hypothetical question as character study, an examination of how this happens, and an assertion that a system like this shows no mercy, not even to its most loyal subjects, despite what we want to believe.
    • 57 Metascore
    • 50 Critic Score
    The Secret Life of Bees
    Sweat and good intentions will take you only so far. And they take Bees right up to the threshold of entertaining--but not one step further.
  28. Miss Peregrine's Home for Peculiar Children
    Burton's never been especially good at finding the internal motor or the rhythmic drive within a scene. This, I think, is why Miss Peregrine stalls, again and again, while the bird woman or Samuel L. Jackson's pointy-toothed, fright-wigged Barron tells us what's up with what we just saw, and what'll happen next.
  29. Miss Potter
    A scenic, well-behaved account of Potter's life and times.
  30. The Best of Times
    So, as we watch this movie go through its predictable paces, we also watch two actors, one in character and one not. And that is an awful lot to ask an audience to suffer through just to see Russell deliver another dependable piece of work. [3 Feb 1986, p.C2]
    • Chicago Tribune
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