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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    • 84 Metascore
    • 88 Critic Score
    Lagaan: Once Upon a Time in India
    Features colorful song-and-dance numbers that look and sound best in surround sound and on a huge screen.
  2. The Wrestler
    The Wrestler works for the same reason "Rachel Getting Married" works. The way they're acted, shot, edited and scored, both films deploy a loose, rough-hewn documentary style to great dramatic advantage. The corn isn't hyped. The performances click without going for the jugular.
  3. Warfare
    It’s a specific sort of achievement, without the full dimension or larger resonance of a classic. That’s a lot to ask of any film, especially one that does so much so rigorously and well.
  4. Planet of the Apes
    This century's Planet of the Apes is a rouser, a screaming-banshee fun house.
  5. Anywhere But Here
    These are real characters, fully observed, gutsily written, beautifully acted by the two leads.
  6. Gladiator
    Has the kind of super-cinematic qualities and bravura acting that make up for almost anything.
  7. All Dogs Go to Heaven
    Charlie, who owes an obvious debt to Chuck Jones' Wile E. Coyote, comes equipped with one of the most expressive faces in cartoon history: Bluth keeps his features-ears, snout, mouth, eyes-in constant flux, a beautiful blend of line and volume that represents the pinnacle of the animator's art. [17 Nov 1989]
    • Chicago Tribune
    • 78 Metascore
    • 88 Critic Score
    Princess Mononoke
    Rarely does any film, animated or otherwise, immerse you in such a vivid landscape and engage your senses so strongly.
  9. Gun Crazy
    A fascinating study of sexual heat fueled by guns and ammo. [19 Oct 2001, p.C8]
    • Chicago Tribune
  10. Career Girls
    So intense and warm are Leigh's feelings for his characters, that we may remember Hannah and Annie long afterward as old friends -- imperfect yet lovable, pals with whom we've suffered and laughed a lot.
  11. A Time for Drunken Horses
    Showing us a world through a child's eyes, A Time for Drunken Horses speaks so truthfully and well that it breaks the heart and scars the conscience.
  12. Gravity
    It's a nerve-wracking visual experience of unusual and paradoxical delicacy. And if your stomach can take it, it's truly something to see.
  13. The Personal History of David Copperfield
    Tilda Swinton’s a tightly wound riot as Copperfield’s snappish aunt, living seaside and fending off stray donkeys while her serenely mad lodger Mr. Dick resides in his own universe. He is played by Hugh Laurie, beautifully, as if Bertie Wooster had taken a few wrong turns.
  14. Marnie
    Hitchcock's most disturbing film. [26 Nov 1999, p.A]
    • Chicago Tribune
  15. Who Gets to Call It Art?
    Shot with a Peter Greenaway-like austere impudence and edited brilliantly (by Jed Parker), this is an entertaining movie, and a moving one--even if, like me, you're not especially fond of these paintings or that scene.
  16. Showing Up
    The movie has a tiny motor of a narrative, but it’s just enough. Nothing is overstated, and a lot of Showing Up isn’t even stated; it’s simply shown, on the fly or with the merest emphasis on what Lizzie goes through as she completes her work.
  17. Severance
    I prefer my horror with a chaser of wit, and Severance, a modest but very lively British import, serves it up in harsh but high style.
  18. The Assassination of Jesse James by the Coward Robert Ford
    It is a film, often breathtaking without settling for being pretty, filled with nervous silence.
  19. To Be and to Have
    A deceptively simple French film about teaching that keeps enlarging as you watch it, becoming beautiful and inspiring in a way most films never touch.
  20. The Wild Parrots of Telegraph Hill
    The kind of well-crafted, character-driven work that wows regional film festival crowds and public television audiences but seldom gets seen outside those circles.
  21. Eat Drink Man Woman
    It's a movie that literally makes your mouth water. A smart, sprightly, lip-smacking comedy about a Taipei master chef who's lost his sense of taste and his tangled family problems with three romantically troubled daughters. It crackles with iridescent style and wit.
  22. Get On Up
    Get on Up hits all these high points. But the Butterworths fracture the order, fruitfully. They're more interested in making musical and dramatic connections across time and space — something in the '70s triggering a childhood memory, for example — than in laying them out predictably.
  23. The Royal Tenenbaums
    More flat-out funny than "Rushmore," but in neither film is the humor joke-based. What you're laughing at is the behavior of characters who are so fixed in their idiosyncratic worldviews that they can't help but careen into each other like out-of-control bumper cars.
  24. Witness
    Witness" is both exciting and thoughtful.... And just as important to moviegoers, Witness is a genuinely gripping thriller. [08 Feb 1985]
    • Chicago Tribune
  25. Spider-Man: Into the Spider-Verse
    It’s zippier than “Incredibles 2,” and nearly as witty as the first “Lego Movie,” with whom it shares a very funny screenwriter, Phil Lord.
  26. Midnight
    After "Ninotchka," this is the best Billy Wilder-Charles Brackett script filmed by somebody else: a terrific romantic swindle comedy set in Paris, starring Claudette Colbert, Don Ameche and John Barrymore. [26 Sep 2003, p.C5]
    • Chicago Tribune
  27. Being Julia
    Bening shines, and the film shines too.
  28. Finding Neverland
    It's an intellectual family film for literate parents and children, immensely pleasing if not perfect, perhaps a smidgen too brightly evasive and determinedly charming.
  29. Crash
    Like Robert Altman's "Short Cuts," it is an all-star fresco, but the stars--none of whom carries the movie--get to play the kind of morally ambivalent, sometimes unlikable parts that big-name actors usually avoid.
  30. Nomadland
    While there’s little or no outright expression of religious faith in Nomadland, Zhao and company have given us a glancing but evocative state-of-the-nation character study. In its own spiritual fashion, Fern’s story becomes one about the character of a nation, and an America desperately searching for the ribbon of highway (to quote Woody Guthrie) to take us all the way home.
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