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. Claire's Camera
    Strange is a word that pops up frequently in Claire’s Camera, a lovely doodle and the latest from South Korean writer-director Hong Sang-soo. The strangeness extends to and suffuses most of the human interactions, which never go entirely smoothly.
  2. Look at Me
    A witty and psychologically perceptive look at the Parisian literary scene.
  3. Serenity
    A brash, funny, action-packed bit of sci-fi ecstasy--and a giant raspberry to the execs who let "Firefly" fall out of the sky.
  4. Fever Heat [re-release]
    A noir with a smile, and after all these years, its deft mixture of darkness and light still makes us smile.
    • 85 Metascore
    • 88 Critic Score
    The Savages
    A bracingly honest, funny movie about death and family that skillfully sidesteps the usual pitfalls of sentimentality and mawkishness. It’s what you might call an awards season miracle.
  6. Sunset Story
    You probably won't find two more fascinating camera subjects, two livelier conversationalists or two richer, more rewarding, more engaging and inspiring companions in any movie, fiction or non-fiction, this year.
  7. Turtles Can Fly
    A beautiful, intensely moving film.
  8. Iron Man
    As big-budget comic book adaptations go, this one's a gratifying freak--the right kind of conflicted, as well as quick-witted. It's a lot of fun.
  9. 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
  10. The Insider
    This is a first-class muckraking melodrama: an admirable picture.
  11. '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
  12. Archangel
    Archangel is a perfectly self-contained aesthetic object, maddening in its arbitrariness and opacity, yet wholly absorbing in its flurry of urgent yet incomprehensible significations.
  13. The Illusionist
    Chomet himself has written the gentle waltz theme and other music. The piece glides by, effortlessly.
  14. I Am Love
    I Am Love makes no apologies for its style. None needed: The film, a two-hour swoon, is a cry for romantic freedom, perched on the edge of self-parody, as all good melodramas are.
  15. Kiss Kiss Bang Bang
    Black's retro-noir reminds us why we love movies: because they can surprise us, even when we're ankle deep in bullet casings, bodies and enough twists to tie us in knots.
  16. The Set-Up
    To cop a phrase, it's a knockout. [05 Sep 1999, p.32C]
    • Chicago Tribune
  17. The Second Mother
    Muylaert's picture relates to many other South American domestic comedies pitting "the help" against the economic overlords, but this one has the grace to humanize everyone on screen. The results are both smart and curious.
  18. Beyond the Gates
    If Beyond the Gates were merely a well-intentioned bore, the reality might seem jarring. As is, the coda fits and feels like the only possible ending--proof that surviving to help tell the story of a genocidal nightmare is the best revenge.
  19. Dan in Real Life
    As a director Hedges is smart enough to allow his actors to share the frame and interact and let the material breathe.
  20. The Witnesses
    The Witnesses may be schematic, but it lets each character live and breathe. The film captures a time and place that seems very distant now.
  21. The Filth and the Fury
    The concerts are hypnotic, the music is swell, and the entire package moves along at just the right pace.
    • Chicago Tribune
  22. Piccadilly [re-release]
    German emigre Dupont directs all this with the style, flair and tension he brought to his 1925 Emil Jannings classic, "Variety." But it is Wong, shimmering with charisma, who gives Piccadilly its unforgettable center.
  23. The Maid
    Tone is everything here. While likely influenced by Chilean absurdists of another era, such as playwright Egon Wolff, in The Maid Silva treads an ultra-fine line between caricature and character, leaning toward the latter without weighing down an essentially featherweight creation.
  24. Amy
    Amy stays above the tabloid fray, up to a point. Kapadia hasn't made a groundbreaking documentary; it's more like a classy, high-end edition of "Behind the Music."
  25. The Devil Came on Horseback
    It is not an easy film to watch, nor should it be. It is, however, beautifully made. Annie Sundberg and Ricki Stern, the co-directors, wrangle their information and lay it out clearly, vividly and with a sharp sense of focus.
  26. Hotel Rwanda
    Not a striking film visually. It's deliberately plain looking, focused on the appalling events with an almost documentary immediacy.
  27. Pink Cadillac
    Pink Cadillac is the most graceful, warm-hearted and engaging of Clint Eastwood's comedies. [26 May 1989, p.A]
    • Chicago Tribune
  28. Gasoline Rainbow
    See it, and see what you make of this new and quite wonderful example of this in-between cinematic tradition — and of Tony, Micah, Nichole, Nathaly and Makai, both real and imagined.
  29. The Cruise
    Even if you have no interest in documentaries or the facade that is New York City, The Cruise transcends its artistic boundaries to becomes something strange and unique.
  30. The Look of Silence
    Painful and unforgettable — a serious and honorable form, perhaps the highest, of "gotcha" journalism imaginable.
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