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. 'Round Midnight
    My only quibble with the film is that the character of the Frenchman is too precious to be believed. But that's no reason to stay away from this lesiurely but powerful story of not a man and his music, but a music and one of its men. [24 Oct 1986, p.A]
    • Chicago Tribune
  2. The Host
    The tone of The Host is slippery in the best way; you're never sure if you're in for a joke or a shock, yet nothing feels random.
  3. Women on the Verge of a Nervous Breakdown
    With Maura delivering an explosive performance, Almodovar presents Pepa's tale with real gusto--with vibrant colors, gaudy personality, mad jokes and a sexiness that erupts off the screen.
  4. Restrepo
    The film is unusually free of cant and the usual trappings of war docs. There is no voice-over narration and very little dramatic underscoring. Right or wrong, the filmmakers shave matters of political policy and contextual analysis clean off the finished product, which runs a tight 94 minutes.
  5. The Iron Giant
    An animated tale equipped with heart, humor, blazing action and not a sappy song in earshot.
  6. Beanpole
    The film is about bargains made and broken and re-negotiated. You watch it in an anxious, protective state, regarding the fate of these characters, and this fallout.
  7. Won't You Be My Neighbor?
    Without undue fawning, Neville’s moving portrait does a lovely job of presenting Rogers as two people, the public figure and the private one, sharing the same closet full of zip-up sweaters.
  8. Meek's Cutoff
    The film is not for the frantic of spirit. Its steady rhythm and even-handed tone threaten occasionally to stultify. But little things mean a lot in this universe, as they should.
  9. The Long Day Closes
    Davies has said that he loves the "poetry of the ordinary." In that sense, he doesn't just wax nostalgic about the good old days, but rather, he makes us question and reevaluate those things we may not remember so readily-not the general, but the specific.
  10. Fruitvale Station
    Fruitvale Station works because Coogler and his leading man present a many-sided protagonist, neither saint nor unalloyed sinner.
  11. I'm Still Here
    Torres is one of those screen veterans with a surgically precise relationship to the camera, never pushing, always searching for emotions expressed even as they’re being hidden, or held in check, because someone’s watching.
  12. Rachel Getting Married
    A triumph of ambience, Rachel Getting Married is the first narrative feature since the 1980s from director Jonathan Demme that feels like a party--bittersweet, but a party nonetheless.
  13. The Last Days
    The Last Days, despite its great subject, is not quite a great non-fiction film. It's too reserved and careful in tone to reach the heights of Alain Resnais' Night and Fog or Claude Lanzmann's Shoah. [12 Feb 1999, p.I]
    • Chicago Tribune
  14. The Circle
    Panahi's simplicity accentuates the movie's power: its sense of life caught unobserved.
  15. Sound and Fury
    By the time the film is over, you may not feel differently about the key issues than you first did, but you will have many more facts (sound) and opinions (fury) to consider.
    • Chicago Tribune
  16. Since Otar Left
    Though Bertuccelli's film orbits around a lie, the story is really less about deception and suspense than it is a moving portrait of female and familial bonds.
  17. Slumdog Millionaire
    After last year's black-hearted "No Country for Old Men," the Oscars may well be in the mood to embrace a fairy tale sampling every imaginable genre, with a note of triumph accompanying even the worst suffering, capped by the snazziest ending money can buy.
  18. Juliet of the Spirits
    A mad, resplendent peacock of a film, a cinematographic riot of color and sensuality that evokes its era -- the swinging mid-'60s -- as much as any movie made during those giddy years.
  19. A Christmas Tale
    Desplechin's films are great, chaotic, unsettling fun. This one's scored, elegantly, to a mixture of standards and classics and original music by Gregoire Hetzel.
  20. Paranoid Park
    “Elephant” may have won the Palme d’Or at Cannes but it really didn’t have anything to say about anything. Modest and artful, Paranoid Park says a great deal.
  21. Out of Sight
    It's a nice mix, an elegantly smoky and dangerous cocktail -- just like the old noirs, but in a more modern, shinier glass. And since the basic brew is Elmore Leonard's, it tickles as it goes down. [26 June 1998]
    • Chicago Tribune
  22. In the Shadow of the Moon
    It has the air of an officially sanctioned tribute rather than a probing study, but it's stirring all the same.
  23. Get on the Bus
    The picture has such a sweet spirit, sly wit and buoyant energy that it seems to disarm potential rancor, fear or contentiousness. [16 Oct 1996, p.1]
    • Chicago Tribune
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