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. 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.
    • 71 Metascore
    • 63 Critic Score
    Sketches of Frank Gehry
    Whatever you think of Gehry's architecture, if you have any interest in art, or the interplay between light and shadow, or the way buildings create space and community, you're likely to enjoy this film.
  3. The Next Best Thing
    All too obvious, all too easy, the sort of tongue-in-chic L.A. comedy that mistakes glibness for high style, heartfelt pop choruses for wisdom.
  4. Warm Bodies
    Levine has a strong instinct as a packager of moments, ladling on the alt-rock just so before ladling on another ladle's worth.
  5. Iron Man 3
    It's not without its payoffs; I enjoyed a lot of it. But overall last year's "Avengers" delivered the bombastic goods more efficiently than this year's Marvel.
  6. Ultimate X: The Movie
    After clawing their way into the Olympics, so-called extreme sports deserve respect, but this is no way to get it.
  7. 2 Guns
    The actors — including Patton as Bobby's DEA colleague and sometime fling — cannot act what is not there. But with Washington, Wahlberg, Olmos and Paxton around jockeying for dominance, the standoffs have their moments.
  8. City by the Sea
    Takes a fascinating true story and turns it into a conventional cop thriller, hoking up the provocative three-generation saga of the LaMarca family.
  9. The Mummy Returns
    Action junkies may enjoy this non-stop barrage, which barely pauses for anything but the most rudimentary (albeit complicated) plot exposition.
  10. River of Grass
    More than "Natural Born Killers," it's a real deconstruction of the whole love-on-the-run crime genre: drab, grim but effective.
  11. Bullet to the Head
    It's junk, and it's excessively violent, which is a given. Approach it as a Stallone movie (which it is) or as a Hill movie (which it is), but it's more interesting as a Hill movie. If it gets this director back into the hard-driving action game, then it will have done its duty.
  12. A Man Called Otto
    Treviño’s effervescent and empathetic performance as Marisol keeps A Man Called Otto on track, both actress and character proving to be the saving grace for this curmudgeonly fellow, and film.
  13. Divine Secrets of the Ya-Ya Sisterhood
    Gives us a lot to enjoy and something most studio movies don't even try for: an attempt at the richness, density and sheer contrariness of life.
    • 75 Metascore
    • 63 Critic Score
    State and Main
    Mamet's movie has its moments of wit and warmth, but here he's mostly behind, not ahead of, the curve.
    • Chicago Tribune
  15. Operation Finale
    Unfortunately, Operation Finale feels a bit behind the ball when it comes to the dramatic true story.
  16. The Lovers
    The Lovers is not about them as individual performers; it's about these actors working in tandem with each other, the script, the director and the other actors. The film works as a whole, not a sum of its parts.
  17. Danny Deckchair
    Sweet-tempered, good-looking, goofy and not too sharp. The movie doesn't make much sense and neither does Danny, played by Welsh heartthrob Rhys Ifans.
  18. Inkheart
    A fine ensemble, some gorgeous Italian Riviera locales, intermittent flashes of magic amid a more manufactured air of whimsy.
  19. The Karate Kid Part II
    There are scattered pleasures throughout the film due to its two lead performances, which are the equal of the work done in the original. It's just that with a few exceptions, the characters Miyagi and Daniel are forced into conflict with aren't worthy of their time.
  20. Treasure Planet
    Combining cutting-edge computer animation with traditional two-dimensional characters, Treasure Planet pops off the screen, reviving Stevenson's adventure with surprising accuracy.
  21. After Earth
    Won't change your world, but it's attractive and Smith the Elder, lowering his voice to subterranean James Earl Jones levels, delivers a shrewd minimalist performance. His son may get there yet.
  22. An Inconvenient Truth
    The film's context and talking points are more interesting than the film itself, which settles for an earnest (though rarely dull) nudge in its chosen direction: PowerPoint cinema.
  23. A Good Man in Africa
    The movie A Good Man in Africa contains the book's funniest, saltiest scenes, but it's less controlled and assured. [09 Sep 1994, p.C]
    • Chicago Tribune
  24. Hail, Caesar!
    The tone of "Hail, Caesar!" is even and assured, yet the comic inspiration is sporadic.
  25. Deadpool
    The movie's far from dull. But first-time feature director Tim Miller's film serves as critique as well an example of what ails the superhero movie industry.
  26. How to Be Single
    Roughly half the scenes are terrible, nervously edited and predictable. The other half transcend the innate shrugginess of the script. At the end there's a dose of voice-over narration assigned to Johnson that is so, so very Carrie Bradshaw, you half-expect Sarah Jessica Parker to show up with a lawsuit.
  27. Cheech and Chong's Next Movie
    A sometimes-funny, dope related comedy with the team of Cheech and Chong trying to survive in the city while having a very high time. [1 Aug 1980, p.4-10]
    • Chicago Tribune
  28. Tuck Everlasting
    Although bright, well-acted and thought-provoking, Tuck Everlasting suffers from a laconic pace and a lack of traditional action.
  29. M3GAN
    A pleasantly nutty thriller about a crafty, high-end toy, M3GAN exploits a child’s grief for the greater good of the killer-doll genre. That may be enough for 100 minutes of your early January.
  30. Viva
    The results are visually exacting if ideologically muddled. Biller's trying to find ways to make the old misogyny usefully ironic. But the acting is so amateurish, partly by accident and partly by design, that the film remains confined to an exercise in replicative style.
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