Chicago Tribune's Scores

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For 7,601 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: 5,106 out of 7601
  2. Mixed: 1,473 out of 7601
  3. Negative: 1,022 out of 7601
7601 movie reviews
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  1. EPiC: Elvis Presley in Concert
    It’s an exhilarating cinematic experience, whether you’re an Elvis fan or not — but Luhrmann makes sure you are by the end.
  2. To Die For
    Kidman crafts a characterization of breathtakingly controlled artifice, dead-on timing, dizzyingly precise humor. Her part is a knockout--in every sense of the word. [6 Oct 1995]
    • Chicago Tribune
  3. Museo
    Museo is the work of a genuinely creative directorial talent, and the early family scenes, richly detailed and shrewdly acted, provide just the right emotional context for this squabbling, indecisive gang of two.
  4. Nobody's Fool
    It's a simple-seeming but luminous movie, an intelligent, very funny and dead-on small-town comedy-drama adapted and directed by Robert Benton from Richard Russo's gently humorous 1993 novel. [13 Jan 1995, p.C]
    • Chicago Tribune
  5. Before the Devil Knows You're Dead
    What you’re left with, finally, is the pleasure of a wily director’s company. In much the same way John Huston defied convention and predictability in the third act of his directorial career, with films as odd and fresh as “Wise Blood” and “Prizzi’s Honor,” Lumet is doing the same, right now.
  6. West Side Story
    West Side Story has a nonpareil set of songs and dances, with ecstatic, exuberant, wonderful music by Leonard Bernstein and witty or heart-tearing lyrics by Stephen Sondheim. [Sing-a-long]
  7. Raiders of the Lost Ark
    Raiders of the Lost Ark is, in fact, about as entertaining as a commercial movie can be. What is it? An adventure film that plays like an old-time 12-part serial that you see all at once, instead of Saturday-to-Saturday. It's a modern "Thief of Baghdad." It's the kind of movie that first got you excited about movies when you were a kid.
  8. Deliver Us from Evil
    Deliver Us From Evil has a few things wrong with it, including an egregious musical score, but without resorting to sucker punches, it takes your breath away while making your skin crawl.
  9. May December
    Yes, May December exists in an uncomfortable realm. Haynes isn’t afraid of that, and American movies are better for it.
  10. Say Anything...
    Complex, knotty and at times even uncomfortable; its world has a weight and heft that makes its ultimate romanticism seem genuinely transcendant, genuinely magical. [14 April 1989]
    • Chicago Tribune
  11. The Great Beauty
    It's a beauty, all right. It's more a style show than a deep philosophical treatise, but with surfaces this sleek and faces this interesting, I'll take style over substance any day.
  12. The Miracle of Morgan's Creek
    One of the great, outrageously irreverent American movie comedies. [27 Sep 2005, p.C3]
    • Chicago Tribune
  13. Patton
    The movie holds up far better than its detractors guessed - splendidly, in fact - not only thanks to Scott's spellbinding acting, but to the epic imagery, Coppola's (and Edmund North's) highly intelligent script and Schaffner's lucid, perfectly controlled direction.
  14. The Lost Daughter
    Gyllenhaal’s work with her actors is quietly spectacular, and she takes the best of Ferrante’s fearlessness while letting Colman and Buckley unfold the character’s secrets through action and reaction.
  15. The Big Sick
    The Big Sick has the confidence to let the audience come to Nanjiani and Gordon's fictionalized real-life situation, rather than yank us in, kicking and screaming.
  16. Argo
    In the populist vein of Ron Howard's "Apollo 13," Affleck's rouser salutes the Americans (and, more offhandedly, the Canadians) who restored our sense of can-do spirit when we needed it.
  17. The Grifters
    Huston gives one of her very best performances as a strong lady who can con almost everyone but herself. Her manner on the screen in this picture and in Woody Allen's "Crimes and Misdemeanors'' marks Huston as the one contemporary actress who comes closest to having the power of classic female dramatic stars of years past. [25 Jan 1991]
    • Chicago Tribune
  18. Traffic
    It's a thriller that really thrills, a drama that really engages, a portrait of a world and system out of joint that is painfully convincing and totally engrossing from the first simmering minute to the last explosive second.
  19. Talk to Her
    Great filmmakers push their ideas and characters to the limit, unafraid of consequences - which is what Pedro Almodovar has done in Talk To Her, his latest film and, I think, his best.
  20. Summer Hours
    It all comes together as formidably detailed and easy-breathing craftsmanship.
  21. The Strawberry Blonde
    The stars are at their best and most rambunctious and so is Walsh. If you have any taste for Warner Brothers Golden Age studio classics--and want to catch a gem you may have missed--this one hits the spot. [17 Nov 2006, p.C6]
    • Chicago Tribune
  22. The Master
    The Master is brilliantly, wholly itself for a little more than half of its 137 minutes. Then it chases its own tail a bit and settles for being merely a fascinating metaphoric father-son relationship reaching endgame. It may not all "work," but most of it's remarkable.
    • 86 Metascore
    • 88 Critic Score
    Boys Don't Cry
    A stirring, emotionally true testament to foolish bravery as well as shameful evidence of the severity with which it is so often punished.
  24. The Wild Pear Tree
    The Wild Pear Tree may be the one film out there with the uncanny, gorgeously ruminative ability to take you away from everything cluttering a Chicagoan’s head space right now.
  25. Distant Voices, Still Lives
    A gripping and original piece of work, itself sure to be remembered as one of the finest films of the year.
  26. Aladdin
    Although the film in no way measures up to the features made under Disney's personal supervision, it does contain some far more imaginative and adept animation than the last several post-Walt titles.
  27. This Is England
    A small film that packs a big wallop.
  28. Sweet Sixteen
    Loach is a super-realist, and Sweet Sixteen has the disarming feel of a documentary. It's a film that miraculously catches life on the fly, without apparent embellishment, cliche or melodrama.
  29. The Player
    What "M.A.S.H." did to service comedies, what "McCabe and Mrs. Miller" did to westerns, what "The Long Goodbye" did to detective pictures, The Player does the to Hollywood success story. [24 April 1992]
    • Chicago Tribune
  30. The Son
    It's a movie imbued with a fierce intimacy -- a tone and style similar to cinema verite documentary -- but it's not a banal realism, even if the characters and settings in contemporary working-class Liege initially seem mundane.
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