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. Black Orpheus
    A film that art-house audiences in 1959 loved madly. And who can blame them? A buoyant, searingly colorful retelling of the Orpheus and Eurydice myth set in Rio de Janiero, writer-director's Marcel Camus' movie is a romance heightened by its backdrop.
  2. Moana
    The film is bright, busy, enjoyable, progressive without being insufferable.
  3. Chris & Don. A Love Story
    A fascinating documentary, one much better than its rather flat and unimaginative title.
  4. Still Life
    The first great film of the year. It’s beautiful but so much more—full of subtle feeling, framed by a monstrous, eroding landscape.
  5. Gimme the Loot
    This is a true New York movie, though in its ear and eye for atmospheric beauty it feels more French.
  6. 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
  7. The Eel
    Imamura, like many older directors, has evolved a style of wonderful simplicity, lucidity and economy, cutting to the marrow of events, switching moods with effortless ease. [11 Sep 1998, p.F]
    • Chicago Tribune
  8. Skyfall
    While the protracted third act doesn't kill the two-hour, 23-minute picture, "Casino Royale" remains the best of the recent Bonds, with Skyfall just a notch below it.
  9. Consuming Spirits
    Dense like a detailed graphic novel in the Chris Ware or R. Crumb vein, but a real movie in every way, Consuming Spirits is a strange and wormy accomplishment, the sort of personal epic only the most obsessive of cinematic madmen undertake, let alone complete.
  10. The Janes
    Ideally, with Roe about to be erased from the books, The Janes would land on a more complex note of imminent, controversial change afoot. Small matters. It’s a very fine film
  11. A Fantastic Woman
    A Fantastic Woman is the likely front-runner for this year’s foreign language Academy Award. Its clarity of purpose translates to an effectively lean and straightforward story of adversity and survival, in any language.
  12. The Scent of Green Papaya
    Anyone who thinks nothing is happening in The Scent of Green Papaya-in the absence of car chases, rapes, gunfights and whatever else we may now demand from our entertainment-is obviously not paying attention. [11 Mar 1994, p.D]
    • Chicago Tribune
  13. Melancholia
    Much of Melancholia plays, effectively, like a slice of late 20th century Dogme-style realism, in the vein of the film "Celebration" by von Trier's fellow Dane, Thomas Vinterberg.
  14. Ballets Russes
    May not be the greatest dance documentary ever made, but it could well be the most accessible and touching.
  15. The General
    A near-masterpiece, it is one of the most effective and convincing studies of a criminal ever put on screen. [22 Jan 1999, p.A]
    • Chicago Tribune
  16. Harry Potter and the Goblet of Fire
    J.K. Rowling's Harry Potter just keeps growing up. So do the Potter movies, in size, in ambition and in visual splendor - and with increasingly stunning results.
  17. Mikey and Nicky
    If May's script is brilliant, so is the vivid, raw acting -- which suggests heavy Cassavetes influence. [30 Jul 1999, p.O]
    • Chicago Tribune
  18. Paprika
    We've gotten perhaps too used to the computerized wizardry of our own cartoon features; Kon, like Miyazaki shows us some older ways that can still transfix us.
  19. Hairspray
    Less polished but more fun than "Dreamgirls." Both are drag revues at heart, one funny, the other serious. I prefer the funny one.
  20. I'm the One That I Want
    If only the film had been a more visually satisfying experience.
    • Chicago Tribune
  21. Chicago
    Zeta-Jones can belt out her numbers, Zellweger can purr hers, and Gere-a musician who played his own cornet solos in "The Cotton Club"-can sell his songs and even dance a spiffy little tap dance. They're better than you'd expect-and so is the movie.
  22. King Kong
    The new Kong is just different enough to be terrific screen company. His relationship with his leading lady, played with heart and panache by Naomi Watts, doesn't feel like an old story retold. It feels like a brand new story.
  23. That's Entertainment! III
    People always complain that movies aren't as entertaining, entrancing or outrageous as the best of the old Golden Age. Yet, memorably and magically, here's one that is. Don't let it dance away unseen. [22 Jul 1994, p.C]
    • Chicago Tribune
  24. Daughters of the Dust
    Throughout the film, cinematographer Arthur Jafa brings in lovely, imaginative photography, showing a remarkable eye for light and composition, while Dash provides crisp, sensitive direction in putting together a moving work about a simple but proud people immersed in a distinct culture and ritual as they try to "touch their own spirits."
  25. Goodnight Mommy
    Flashes of Goodnight Mommy are forceful and blackly funny.
  26. Midnight in Paris
    Led by Wilson and Cotillard, the ensemble makes the most of the material that works, and makes the best of the rest of it.
  27. Mission: Impossible – Dead Reckoning
    Whether Mission: Impossible — Dead Reckoning Part One turns out to be a massive hit or merely a hit, it’s certainly the franchise action picture of the year, the one that truly knows what it’s doing, front to back.
    • 81 Metascore
    • 88 Critic Score
    The Story of the Weeping Camel
    The film is really just a documentary about nomads masquerading as a feature about camels. Which is why it's okay to be distracted by the details, and perhaps why its subtext--about the younger generation's real and inevitable loss to modernity--is more effective than the storyline about the camel.
  29. The World's End
    The movie is madly, wonderfully at odds with itself.
  30. Mountains
    Mountains does what it sets out to do with grace, and a sure instinct for music, color, faces and moments of decision regarding where we’ve come.
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