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. Wolf Man
    The results are equal parts marital crisis, sins-of-the-father psychodrama and visceral body horror. They’re also a bit of a plod — especially in the second half, when whatever kind of horror film you’re making should not, you know, plod.
  2. Onward
    Does it work? It’s one busy movie, though without much variety in its rhythm or much breathing room in its perils.
  3. The Railway Man
    Even when the film's cheating, Firth refuses to tidy up the fictionalized Lomax's emotional state. The actor, so good at playing stalwart men contending with inner demons, can utter a simple line — "I don't think I can be put back together" — and break your heart, legitimately, without histrionics.
  4. In Her Shoes
    A great big wad of chick-lit gum, In Her Shoes gets by on the skill of its players.
  5. Akeelah and the Bee
    Predictable, corny and formulaic...Yet this latest triumph of the spelling-bee spirit, like last year's earnest, flawed film version of "Bee Season," features a film-saving performance where it counts most: from the kid playing the kid with big brain and even bigger heart.
  6. Beau Is Afraid
    Phoenix acts his ass off, often entertainingly, and from the hoariest of ancient dark-comic tactics, Aster pulls off the occasional little miracle here and there, especially when LuPone and Posey are around.
  7. Canvas
    Canvas is a thoughtful, sweet film that handles its difficult topic--schizophrenia--with tact and tenderness.
  8. Good Boys
    Director Stupnitsky lacks finesse and an eye for framing at this stage of his directorial career. He is, however, well-attuned to catching moments on the fly.
  9. Secret Window
    Koepp, an often ingenious writer, should have followed King's example and covered his tracks better. If he had, Secret Window might have been as good as "Stir of Echoes," and not simply a mini "Misery" and a not-quite "Shining."
  10. 8 ½ Women
    Seethes with cruel lust and brainy fancy.
    • Chicago Tribune
  11. Iron Man 2
    A movie like this can handle a large character roster, but it helps if the story retains clean lines and a sense of propulsion. Iron Man 2 sags and wanders in its midsection
  12. Godzilla 2000
    This is camp, pure and simple, and unless the translators have taken far greater liberties than is apparent, the filmmakers know it.
    • Chicago Tribune
  13. Body Double
    What Body Double lacks is rigorous editing that would have pared down this story to the tight, thoughtful thriller it could be. Instead, in Body Double as it now plays, De Palma runs wild with his own violent flourishes.
  14. Our Brand Is Crisis
    Proves, unhappily enough, how U.S.-style media politics is spreading around the world.
  15. Learning to Drive
    I wish Learning to Drive imagined a fuller, more dimensional inner life for Wendy, but Clarkson develops a push-pull rapport with Kingsley that fills in the blanks — or, rather, mitigates the script's on-the-nose tendencies.
  16. Everest
    A fairly good, extremely grueling movie as far as it goes — tracks the true-life fortunes of a battered group of climbers to the highest place on Earth. Yet somehow it doesn't go far enough.
  17. Fury
    A handful of revisions, tweaks and adjustments, along with a musical score less bombastically grandiose, might've made this a film to remember.
  18. Pearl Harbor
    A movie meant to explode off the screen -- and it's at its best when those explosions are going full blast.
  19. Colossal
    This weird marriage of indie earnestness and matter-of-fact fantasy gives Colossal its moderately engaging distinction.
  20. Rhino Season
    Rhino Season unapologetically favors poetry over prose, layering its images and time frames in elegantly wrought detail. At times the visual landscape feels fussy. [12 Oct 2012, p.C3]
    • Chicago Tribune
  21. Pushing Tin
    One of the most discouraging things about many big studio movies is the way they waste resources, mainly talent and money. Pushing Tin manages to waste an excellent cast, a glossy production and what initially seems to be a bright, funny script. [23 April 1999, Friday, p.A]
    • Chicago Tribune
  22. Lonesome Jim
    As a director, Buscemi is drier than he is as a performer: more quietly funny, less intense and sometimes weirdly compassionate.
  23. Song of the Thin Man
    It just doesn't swing (or bop), but the stars always click. [15 Jul 2005, p.C8]
    • Chicago Tribune
    • 70 Metascore
    • 63 Critic Score
    Tosca
    You would be better off investing in the worthy EMI recording that serves as the soundtrack, or the home video of the 1992 Malfitano-Domingo production.
  25. Basic
    The movie, one of those surprise-twist detective stories, doesn't really stand up to scrutiny in the cold light of the theater lobby.
  26. Walk Hard: The Dewey Cox Story
    The tunes are so good, you can’t believe the film itself doesn’t amount to more, especially with the rightness of the casting. Still, a few laughs are better than none.
  27. The Boss Baby
    The Boss Baby is great fun for parents, but it remains to be seen if kids will get it at all.
    • 53 Metascore
    • 63 Critic Score
    Apres Vous (After You)
    A sweet, if dramatically overlong trifle.
  29. Absence of Malice
    A wildly overwritten melodrama about the sins of the press. Newman's character is compelling, but Field's reporter is such a lamebrain that we know she would be fired at any major newspaper. [25 Dec 1981]
  30. Reminders of Him
    It’s not always easy to navigate the tonal landmines of a Colleen Hoover yarn. That Caswill, Monroe and Withers do so with aplomb and emotion proves what these films can be: deeply felt, transporting romances to be taken seriously.
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