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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  1. 127 Hours
    127 Hours never calms down. You suspect you're only getting half the truth of what this ordeal must've been like.
    • 41 Metascore
    • 63 Critic Score
    Career Opportunities
    I'll admit most of the movie is great. The plot is strong, and it's funny too. But then the ending cancels out everything you just saw. What a tease. There's nothing behind a good front. [5 Apr 1991, p.J]
    • Chicago Tribune
  3. Boy Culture
    It's a better-than-average gay relationship film, largely because neither plot mechanics nor the same old camp intrude much.
    • 65 Metascore
    • 63 Critic Score
    Walk on Water
    Despite the film's pat plot turns and instructional tone, there are moments of charm, thanks to the fetching, committed cast.
  5. Snowden
    It's fairly absorbing though, increasingly, a bit of an eye-roller, and it's designed, photographed and edited to make you itchy with paranoia.
  6. Even Cowgirls Get the Blues
    The movie contains its moments, charms and felicities-even its sharp stings of pleasure and pain. [20 May 1994]
    • Chicago Tribune
  7. Thor: Love and Thunder
    At its fizziest, the camaraderie among the principals buoys the picture. Hemsworth and Thompson in particular toss off their lines with throwaway aplomb. Waititi’s heart plainly belongs to the muttered asides and the eccentric details; the action sequences, meanwhile, squeak by, and barely.
  8. Saudate for the Future
    Completely successful or not, films like Saudade do Futuro are needed. And we need people like the Nordestinos.
  9. U-571
    As beautiful as all the film's technology is, it needs more real human beings around - to pull the switches, man the pumps and scuttle through those corridors.
    • 56 Metascore
    • 63 Critic Score
    Save Me
    Allen and Gant are principals in Mythgarden, a movie production company that promotes gay and lesbian storytelling, and Save Me makes a respectable showing as an early effort.
  11. The Tale of Despereaux
    I admired the craft more than I loved the results. But The Tales of Despereaux is still better-than-average animation.
  12. Agnes Browne
    A bawdy comedy that convincingly celebrates the resilience of the urban poor and the power of friendship in the teeth of despair.
    • Chicago Tribune
  13. Serial Mom
    Serial Mom is a typically funny and cheerfully outrageous John Waters' comedy about the conjunction of suburbia and hell, perfect families and serial killers. [15 Apr 1994, p.C]
    • Chicago Tribune
  14. Opal Dream
    Sophisticated cinephiles aren't likely to go ga-ga over this one, but Opal Dream is a worthwhile family film, graced with an ambivalent, bittersweet ending and just the right touch of cinematic poetry turning on the gemstone in its title.
  15. Hitchcock
    I prefer [HBO's Hitchcock biopic] "The Girl," not because of its salaciousness but because it gets at something underneath the great (truly, great) director's skin.
  16. Youth in Revolt
    Youth in Revolt isn't bad -- the cast is too good for it to be bad.
  17. The Spy Who Dumped Me
    McKinnon’s apparent improvisations and inventions create a second, better movie in the margins.
  18. The Way, Way Back
    The film's not as good as its cast, but The Way, Way Back has its moments.
  19. The Promise
    I'm not sure the director should return to this particular genre, whatever you'd call it. But he is, in fact, a real director.
    • 70 Metascore
    • 63 Critic Score
    Exodus
    Otto Preminger's adaptation of Leon Uris' best seller about the founding of the state of Israel occasionally threatens to collapse under its own weight, but a strong cast, including Paul Newman, Eva Marie Saint, Ralph Richardson, Lee J. Cobb and an Oscar-nominated Sal Mineo, helps maintain focus. [08 Nov 2008, p.C10]
    • Chicago Tribune
  21. He Loves Me... He Loves Me Not
    Though I wouldn't call He Loves Me a total success, it's smart, intriguing and quite ambitious, a first film by a talented young filmmaker that displays superstar Tautou's gifts in an eerie new light.
  22. Freddy vs. Jason
    Succeeds as a guilty pleasure, a monster mash that clobbers the recent lackluster sequels plaguing both legacies. If only that were a higher compliment.
  23. Nine Months
    It's a big, smiley, free-floating blimp of a comedy: a farce about reluctant fatherhood that could use some parental guidance. [12 July 1995, p.N16]
    • Chicago Tribune
  24. Zombieland: Double Tap
    Everyone on screen is good enough to do this sort of thing in their sleep, which isn’t to say Harrelson, Eisenberg, Stone, Breslin and Deutch laze through the assignment. The first “Zombieland” remains director Fleischer’s best movie by a mile; this one acknowledges, brazenly, the familiarity of it all.
  25. Conversations with Other Women
    This minor relationship picture comes and goes, but her (Carter's) performance lingers.
  26. The Mother
    The second half of The Mother settles for the usual. But getting there makes for a fairly diverting series of melees in the name of child protection, with services rendered by a tough-love mom who does it all.
  27. Hostiles
    It’s Blocker’s story, and Bale’s very good. But for Hostiles to fully make sense of its introductory on-screen D.H. Lawrence quotation — “The essential American soul is hard, isolate, stoic, and a killer. It has never yet melted” — we’d need a tougher, less comforting ending than the one Cooper provides.
  28. 2 Days in Paris
    By accident or design the film is seriously unbalanced.
  29. Mrs. Harris Goes to Paris
    If director Fabian’s touch is a little heavy and coy, the actors lighten it every preordained step of the way. A lot of folks will enjoy the wish-fulfillment. We need it: Not a lot in the real world right now is fully cooperating in that regard.
  30. Black Sea
    Many will forgive all the contrivances and a muted ending that doesn't quite come off. It is, after all, a submarine picture.
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