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. The Creator
    Even with its story hiccups — and by the end, they’re practically contagious — The Creator creates images of the future you have not seen before, at least not quite this way. The movie is messy and knotty but co-writer and director Gareth Edwards has yet to make an uninteresting piece of science fiction.
  2. Anchorman 2: The Legend Continues
    Maybe if I liked the first "Anchorman" a little less, I'd like Anchorman 2 a little more. Still, I laughed.
  3. Race to Witch Mountain
    The action beats are so relentless, no sooner does one chase end than another begins.
  4. Reservoir Dogs
    Tarantino's debut directing job acknowledges the sloppiness and silences that are typically squeezed out of most crime films, but we get the point early on and the remainder is macho posturing. [23 Oct 1992]
    • Chicago Tribune
  5. I Am Woman
    For all the film’s minor flaws, it is deeply moving and incredibly important to witness the impact of "I Am Woman” as an enduring, uplifting cry for freedom and empowerment.
  6. Bread and Roses
    As is often the case in Loach's films, all the acting is exemplary. Padilla, who learned English only shortly before making the film, is a natural actress, a smoldering presence.
    • Chicago Tribune
  7. No Place on Earth
    The first-person remembrances hit you where you live, while everything else (including a bland musical score by John Piscitello) often creates the opposite of the intended effect: It keeps you at arm's length from an extraordinary story.
    • 57 Metascore
    • 63 Critic Score
    Lila Says
    Far less interesting than its premise, primarily because we never know what anyone is really thinking.
  9. Beefcake
    Much to enjoy in this potpourri of silly fun and forbidden games, but a bit less ambition and a tad more focus might have helped.
    • Chicago Tribune
  10. The Parent Trap
    There's something too slickly contrived and hollow about this film. It's a yuppified wish-fulfillment piece dangling between real world and fairy tale, and it's mostly the actors --especially Lindsay and Elaine Hendrix (as the conniving publicist who is trying to marry Hallie and Annie's dad) -- who manage to bring it off. [29 July 1998]
    • Chicago Tribune
  11. Young Sherlock Holmes
    The production is first-rate in all technical ways imaginable, but the villain that Holmes and Watson chase is not worth their intellect or time or ours.
  12. POM Wonderful Presents: The Greatest Movie Ever Sold
    It's too bad Spurlock settles for so little here, beyond the surface gag.
  13. Inside Deep Throat
    Full of groovy music and comic characters--many with a priceless reaction to Lovelace's oral party trick--but it hardly manages to say anything new or thoughtful.
  14. Good Luck to You, Leo Grande
    The film is intimate without feeling particularly deep or complicated. Not that it needs to be.
    • 50 Metascore
    • 63 Critic Score
    Madea Goes to Jail
    If the movie is a mess, it's a purposeful mess, cannily, if not artfully, pushing all the right buttons to ensure Perry will be back for another round.
  16. Hostage
    Good action movies live on style and excitement. But they also need credibility, and in Hostage, ALMOST a good genre piece, plausibility keeps getting slaughtered.
    • Chicago Tribune
  17. The Dictator
    Cohen at his best is both brazen and sly. As is The Dictator.
  18. Love Object
    While some pedestrian camerawork and spotty acting from supporting players deflate Love Object, it has enough juice - and a surprising twist - to keep fans of the slow-burn horror genre enthralled.
  19. Happy, Texas
    Don't expect a lot, and you'll probably enjoy Happy, Texas, as I did -- mostly. At the very least, Steve Zahn will make you laugh.
  20. A Cure for Wellness
    A Cure for Wellness is an odd film. It's exceedingly well-crafted; the attention to detail and design, composition and camera movement on display here has largely been abandoned by recent horror films grasping for a jarring sense of realism.
  21. The Girl Who Kicked the Hornet's Nest
    Larsson's leading characters have less to do in this wrap-up chapter. As Larsson wrote it and screenwriter and exposition-condenser Ulf Rydberg adapted it, it's a rather wobbly blend of courtroom drama and loose ends tied, albeit rather leisurely.
  22. We Are Your Friends
    Joseph's direction offers up an energetic take on the material, incorporating text visualization, quick-cutting montages, and creative uses of animation to bring the thumping electronic music to cinematic life.
    • 47 Metascore
    • 63 Critic Score
    Luther
    Aside from a couple of unintelligible conversations with himself, there's barely any God here. The film would rather just be inclusive. Luther might have wanted it that way, but as moviegoers, it's hard not to want more.
  24. Beast
    As with so much of this director’s work, I’m in the middle on Beast, though its efficient running time puts it a notch above. Like many of his previous films, this one has the advantage of modest scale and a passing interest in human resourcefulness under extreme duress. It has also the disadvantage of spectacle that is more technical than artistic.
  25. Escape from L.A.
    An erratic but enjoyable sci-fi action movie with an extremely bent sense of humor. [09 Aug 1996, p.F]
    • Chicago Tribune
  26. 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.
  27. Kevin Hart: What Now?
    Hart's turn as 0054 is both a fun riff on the genre and a statement that Hart doesn't need to ask for permission to be Bond — because he can do whatever he wants.
  28. American Psycho
    A second-rate nightmare: the Reagan generation meets Leatherhead with flickers of brilliance drowned in blood and snobbery, a corpse dressed by Bloomingdale's.
    • Chicago Tribune
    • 57 Metascore
    • 63 Critic Score
    Teeth
    Teeth is about female exploitation and male castration.
    • 50 Metascore
    • 63 Critic Score
    Look
    The performances feel natural, improvised, and it’s easy to believe this is the world we inhabit. But if Rifkin’s message is pro-privacy, his script, laced throughout with menace, argues against it.
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