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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    • 80 Metascore
    • 75 Critic Score
    The Band's Visit
    You can watch The Band’s Visit for its political idealism, or you can watch it for entertainment value alone. In either case, it doesn’t disappoint.
  2. Dead Man Walking
    Sarandon delivers one of her very best performances; her shock at encountering the wrath of the victim's family is registered beautifully. And Sean Penn, who for too long has suffered with the label of being a "bad boy," gives an Oscar-caliber performance.[12 January 1996, Friday, p.B]
    • Chicago Tribune
  3. North Dallas Forty
    Justly renowned as the most realistic movie on pro football, this is the iconoclastic portrait of savvy, rebellious receiver Phil Elliott (Nick Nolte) who finds himself a target for coaches, owners, players and fate itself. [14 May 2000, p.33]
    • Chicago Tribune
  4. Tokyo Sonata
    Each performance in this plaintive work is superb, but Kyoko Koizumi's gently melancholy portrait of the businessman's wife keeps Tokyo Sonata true and affecting, even when the later passages go a little nuts.
  5. Lorenzo's Oil
    Miller's finely crafted, highly moving new film, seems meant as a new beginning, grounded in an entirely different kind of material and told in an entirely different manner than anything Miller has attempted before.
  6. Desert One
    Though the film initially feels like a patriotic tale of a daring mission, this isn't a story of U.S. military triumph, it's one of sorrow.
  7. Tristram Shandy: A Cock and Bull Story
    It's a little bit "Tom Jones," a little bit "Adaptation," a smidge of Monty Python and a dash of Fellini's "861/2," right down to Winterbottom's use of music by the brilliant Fellini composer, Nino Rota.
  8. Good Night, and Good Luck.
    The result, then, is good, not great. But it is hard to come by good films about media and politics, and why the intersection thereof matters so much in a democracy.
  9. Human Resources
    Works so well for the first 40 minutes or so, that when the bottom falls out of it, I felt more than disappointed. I felt betrayed.
  10. David Crosby: Remember My Name
    It’s his own words, and confronting them now, having lost many of his friends to spats and fights, brings Crosby to his most vulnerable place.
  11. Aquarela
    It’s a pretty interesting nature documentary as far as it goes. But given its globe-trotting scope and the risky location work involved for the filmmakers, it’s a tiny bit strange Aquarela goes only so far.
    • 80 Metascore
    • 75 Critic Score
    Deep Water
    It's like watching a slow multi-car pileup on an icy road: Everyone can see what's about to happen, but nobody can stop it.
  13. Lorna's Silence
    If you’re new to the Dardennes, Lorna’s Silence will serve as a fine introduction.
  14. Other People's Children
    For some, Other People’s Children may feel a little too smooth. But the film’s success starts and ends with the natural vibrancy of the performances, and Efira leads the way.
  15. Clouds of Sils Maria
    By design, the dialogue from the (fictional) play comments directly on the central, shifting power relationship in the film, sometimes elegantly, sometimes a little awkwardly.
  16. Coraline
    It pulls audiences into a meticulously detailed universe, familiar in many respects, wacked and menacing in many others.
  17. Jezebel
    It’s not straight-up realism; nor is it the usual moralizing, candy-coated melodrama. It’s just very, very good, and the scenes between Tenille and Perrier are very, very easily among the plaintive screen highlights of this new year.
  18. 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.
  19. Eternity and a Day
    Somber, meditative and visually magnificent, this film, about a famous Greek author ruminating on his past, is a piece of cinematic poetry: calm, beautiful and chilling as the eternal sea against which much of it is set. [22 Oct 1998, p.2]
    • Chicago Tribune
    • 80 Metascore
    • 88 Critic Score
    Little Miss Sunshine
    Funny, and thoughtful, and deeply, viscerally satisfying.
  21. The Old Man & the Gun
    I hope Spacek gets a role as spacious and accommodating as Redford’s someday. By contrast, Spacek’s co-star delivers what he has been best at: a single, careful look, or mood, or understated note at a time. Redford is not a chord man. I wouldn’t call the film itself complex, but it’s sweet-natured.
  22. Tarzan
    As a ride, this Tarzan succeeds. As a pop myth, it needs more jungle fever. [18 June 1999, Friday, p.A]
    • Chicago Tribune
  23. The War of the Roses
    It can't be easy to keep a comedy on track when the underlying emotions are so vicious, and indeed DeVito's staging slips more than once -- too realistic here, too broad there -- resulting in a film that is at least as often funny-peculiar as it is funny-haha. [8 Dec 1989]
    • Chicago Tribune
  24. The Other Side of the Wind
    The movie’s full of acidic wisecracks and zingers, though its attempts to be funny aren’t really funny. I found Paul Stewart, who dates back to Welles’ “Mercury Theater of the Air” days, to be the strongest human presence in this ghostly affair.
  25. West of Memphis
    A strong, blood-boiling documentary from director Amy Berg, who made the similarly fine "Deliver Us From Evil".
  26. Last Resort
    A film that celebrates simple human kindness. If the ending feels somewhat unsatisfying, it is perhaps because one hates to see this too-brief film end at all.
  27. 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.
  28. Frost/Nixon
    Frost/Nixon is wholly absorbing.
  29. 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.
  30. Senna
    The film is a remarkable experience on a purely sensory level, and the best of its archival footage - on the track, in private meetings with drivers before the races, from the white-knuckle, over-the-shoulder perspective of Senna himself - is pure gold.
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