Chicago Tribune's Scores

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:
7601 movie reviews
  1. It's a wonderful movie and a credit to all of Ireland and all of its people and pubs. The movie deserves a supreme compliment: It's so good it makes you want to go out at once and start a family of your own. [17 Dec 1993, p.B]
    • Chicago Tribune
  2. A picture that represents so much of what I want and rarely get from a movie -- a couple of hours filled with characters who are as exciting as the people I know in real life. [11 Dec 1981]
    • Chicago Tribune
    • 83 Metascore
    • 100 Critic Score
    One of the supreme romantic musicals. To see Kelly hoofing atop Oscar Levant's piano, suavely partnering Leslie Caron along the banks of the River Seine and exulting in her love in the final sequence is to behold the film musical near its apex. [2 Oct 1992, p.L]
    • Chicago Tribune
  3. For me, it's a sign that a filmmaker is on to something if you love hanging out with the characters as they eat and drink and talk and reveal little bits of themselves through everyday action.
  4. Heroin may be a downer, but Trainspotting definitely takes you up…a series of roaring, provocative, outrageous highs. [26 July 1996, Friday, p.C]
    • Chicago Tribune
  5. The Marx Brothers in one of their messiest, sloppiest, greatest Paramount comedies. [27 Feb 2015, p.C5]
    • Chicago Tribune
  6. It makes the dream of flight itself a vehicle for bittersweet enchantment.
  7. I’m flummoxed as to why the movie left me feeling up in the air, as opposed to over the moon. Partly, I think, it’s a matter of how Anderson’s sense of humor rubs up against that of the book’s author, Roald Dahl.
  8. At times, Limbo can feel confining in ways that exceed the confining circumstances of its characters. But the story of Omar deepens and amplifies the film’s second half, maintaining its droll amusements but playing the circumstances for just enough bittersweet honesty to make it stick.
  9. A unique portrait of modern crime and punishment, gives us terror without filters, a tragic event captured in all its initial immediacy and anguished aftermath.
  10. While director Armando Iannucci's brand of satire -- just plausible enough to be painful -- isn't for all tastes, it's a little bit of heaven to hear screen characters spew such eloquently vicious bile.
  11. The film’s peculiar, lingering pathos do not depend on any sort of strict genre definition. The effectiveness depends on caring about the people in the bar, waiting for last call.
  12. A stunner: a fiercely brilliant film of such wrenching impact, nonstop drive and unpredictability that watching it becomes an exhilarating ride.
  13. You watch the movie with an ongoing feeling of dread, and it's not a feeling that ever dissipates.
  14. “Sunday Best,” from director Sacha Jenkins (who died this past May), is a fine effort that explores Sullivan’s commitment to pushing back against network forces, sponsors and other interested parties who were opposed to the presence — the celebration, really — of Black people on the show.
  15. Is what we see grief porn or an epic, careerlong study in the best and worst we can find on Earth? See the film and decide for yourself.
  16. It’s one of the most imaginative and provocative documentaries on any topic I’ve seen this year.
  17. Sing Sing exerts a strong pull on the heartstrings — but without the hard sell or the crafty, manipulative exertion.
  18. Turning Red is pure Pixar in its imaginative clash of genres and impulses. Yet it’s something new, too, its own cultural- and gender-specific creation. I’m eager to see what Shi does next, metaphorically and every other way.
  19. Brilliantly funny, bracingly smart and surprisingly moving. [22 June 1988]
    • Chicago Tribune
  20. Small but sure, the film is like Alejandro himself: quick on its feet, attuned to a harsh life’s hardships and possibilities.
  21. Sold as a romance, but actually is one of the funniest pictures to come out in quite some time. [15 Jan 1988]
    • Chicago Tribune
  22. In the tradition of indie films "Girlfight" and "George Washington," Sollett's emotive, sub-improvising style leads to pitch-perfect performances from a watertight cast in a loose, joyfully fresh film.
  23. 42nd Street is the quintessential '30s backstage song and dance movie-and one of the most influential and much-copied movie musicals ever. [09 Mar 2007, p.C6]
    • Chicago Tribune
  24. '71
    Swift and exciting, with no taste for the usual war movie heroics, first-time feature film director Yann Demange's film belongs on a short list of immersive, rattling, authentic fictions right next door to the fact of survival inside a war zone.
  25. The film may be depressing. But even with a terrible, watery musical score, it's also good.
  26. If "Nightmare" was a jazzy pop number, "Bride" is a waltz--an elegant, deadly funny bit of macabre matrimony.
  27. The film is a master class in reactivity, and Calamy manages it with perfect dramatic pitch.
  28. The best of Brooks' movie parodies: a high-style sendup of Universal's James Whale-directed Boris Karloff "Frankenstein" movies. [26 Oct 2007, p.C3]
    • Chicago Tribune
  29. Project Nim is practically irresistible. The story keeps getting odder and richer and more complicated.

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