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. The Kid with a Bike
    This is the first film the Dardennes shot in the summertime. Excellent choice of seasons. I'm not sure I could've handled Cyril's travails without it, or without de France's smile.
  2. Class Action Park
    The documentary infers a good deal about Mulvihill’s underworld connections and political maneuvers without quite nailing them down.
  3. Kissing Jessica Stein
    Delivers that rare combination of winning traits. It's a low-key comedy with a risque hook -- a seemingly straight woman dabbles in lesbianism -- yet it maintains an old-fashioned faith in literate dialogue, believable behavior and themes that reach beyond the plot points.
  4. The Beat That My Heart Skipped
    It's a thriller that comes at you with gut-clutching ferocity, spewing blood and sex, shaking you up and scrambling your responses.
  5. The Hidden
    The film is violent and a little gross in one or two scenes, but there is an intelligence in its writing by Bob Hunt and direction by Jack Sholder that makes everything worthwhile. [30 Oct 1987, p.41C]
    • Chicago Tribune
  6. Spring Forward
    Not too many actors last year bettered or equaled Beatty and Schreiber here, separately or (better yet) together. It's a pleasure and a privilege to watch them work.
    • Chicago Tribune
  7. Hollywoodland
    With an uncredited assist from playwright/screenwriter Howard Korder, Hollywoodland features some tart, lively banter and welcome comedic touches.
  8. Oppenheimer
    The results are pretty gripping and occasionally brilliant; its peaks, particularly when Nolan suddenly changes gears, cuts out the sound and reveals the full weight of Oppenheimer’s tormented psyche, reach higher than anything this filmmaker has scaled to date.
  9. Urbania
    One of those small films that will, one hopes, find a larger audience through word of mouth.
  10. The Tree of Life
    This may be the most overtly Christian mainstream picture since "The Passion of the Christ." Unlike that one, though, Malick's comes with a generosity of spirit large enough to get all sorts of people (including non-believers) thinking about the nature of faith and what it's all about.
  11. True Crime
    This is an old-fashioned movie done with wit, grace, smarts and style. [19 March 1999, Friday, p.A]
    • Chicago Tribune
  12. My Sex Life... or How I Got Into an Argument
    My Sex Life . . .," one of the best and smartest French comedies in several years, is an epic voyage into paralysis and confusion among the educated young: a witty, brilliantly observed descent into the maelstrom of the modern Groves of Academe.
  13. A Christmas Story
    This richly remembered tale of Christmas past, with writer Jean Shepherd recalling the days when a Red Ryder BB gun really meant something, is already something of a Christmas perennial.
  14. Stronger
    Stronger is a movie you need to see, no matter how much you think you don’t need to see it.
  15. Higher Ground
    Farmiga's film doesn't state things directly, but we sense what is happening to Corinne, and how some turn to fundamentalism for complex and interconnected reasons.
  16. The Greatest Show on Earth
    Prototypical DeMille extravaganza about a circus tour beset with colorful crises, romance, train wrecks and spectacular melodrama from beginning to end. [21 Aug 1998, p.H]
    • Chicago Tribune
  17. Detective Story
    The first-rate cast, Lee Garmes' camerawork and the tense, excellent script (by Phil Yordan and, uncredited, Dashiell Hammett), all help build toward an unsurprising but memorable climax. [16 Oct 1996, p.2]
    • Chicago Tribune
  18. Mrs. Miniver
    This is perhaps the quintessential stiff-upper-lip homefront drama, with Minivers Greer Garson and Walter Pidgeon at their noblest, Teresa Wright at her most adolescently angelic and assorted English-Hollywood expatriates (Dame May Whitty, Reginald Owen, Peter Lawford) at their hardiest. [11 Oct 1996, p.J]
    • Chicago Tribune
  19. Revanche
    Revanche has an unusual rhythm: Once it leaves the grotty urban despair behind for the deceptive calm of the countryside, it relaxes and explores the character’s interior lives.
  20. Holy Smoke
    As much fun as anything director/co-writer Jane Campion has ever filmed. Holy Smoke lets it all hang out.
    • Chicago Tribune
  21. Water
    The writer-director doesn't raise her voice, even as she firmly condemns the injustice. Water seduces us with its beauty and sorrow.
  22. Sing Sing
    Sing Sing exerts a strong pull on the heartstrings — but without the hard sell or the crafty, manipulative exertion.
  23. EPiC: Elvis Presley in Concert
    It’s an exhilarating cinematic experience, whether you’re an Elvis fan or not — but Luhrmann makes sure you are by the end.
  24. 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
  25. Sweetie
    One of the freshest, most exciting first features to appear in a very long time. [19 May 1989, p.1]
    • Chicago Tribune
  26. The Last of the Mohicans
    Never mind the gorgeous wilderness backdrop, the 18th-Century details, the carefully voiced and subtitled American Indian dialogue. From its very first frame until seconds before closing credits, "Mohicans" is an action movie. [25 Sep 1992]
    • Chicago Tribune
  27. The Tragedy of Macbeth
    Stripping “Macbeth” for parts, keeping the focus on the main narrative lines of political assassination and what Macbeth himself refers to as “supernatural soliciting,” Coen turns out to be ideally suited to a straight-ahead, let’s-get-on-with-it rendition.
  28. Last Days in Vietnam
    We need films such as Kennedy's as a corrective.
  29. Martha Marcy May Marlene
    The acting in Durkin's feature is excellent. Olsen is utilized largely as an object for camera adoration, but not in the usual glamorizing way. Olsen, Hawkes and company play slippery figures with lovely assurance.
  30. In Jackson Heights
    Wiseman's film allows everyone their say, so that In Jackson Heights becomes one of the truest images of gentrification and its costs on film.
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