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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    • 76 Metascore
    • 88 Critic Score
    Anita O'Day: The Life of a Jazz Singer
    Swinging gleefully on a sun-soaked afternoon, crafting strangely intoxicating phrases, O’Day could do no wrong on that afternoon at the Newport Jazz Festival in Rhode Island in 1958.
  2. Soul Kitchen
    The funky, enjoyable Hamburg-set comedy Soul Kitchen is a celebration of co-writer-director Fatih Akin's home base, a spacious, moody city of apparently limitless industrial warehouse space - like Chicago.
  3. Hail Satan?
    The musical score, and some of director Lane’s editing strategies, have a way of playing into the more comic aspects. Yet it’s not a mean-spirited affair. In fact, it’s a sly primer in homegrown grassroots activism.
    • 76 Metascore
    • 88 Critic Score
    After the Thin Man
    Second-best of the "Thin Man" series, after the unbeatable first entry, this sparkling sequel boasts a breezy San Francisco setting and an even better cast, topped by William Powell and Myrna Loy. [30 Dec 2011, p.C2]
    • Chicago Tribune
  5. Talk to Me
    Even if Talk to Me feels at times as if some crucial, characters-just-hanging-out material failed to make the final cut, the movie gets under your skin.
  6. Midnight Special
    What happens, when it happens, is … well, either enough or too much, depending on your taste for the fantastic.
  7. Japan
    The work of a remarkable new talent. By the movie's towering, final tracking shot, this imaginative, dazzling film achieves distinction.
  8. Brothers
    While the film's strength lies in an ensemble effort, it's really Sarah and Jannik who provide the film with its most compelling characters, its momentum and, ultimately, its heart.
  9. The Guest
    When the secrets of David's circumstances and motives start spilling into the daylight along with more and more blood, The Guest does a strange thing. It becomes flat-footed and a bit dull.
  10. Margin Call
    On the facile side, but it's well-crafted and smartly acted.
  11. Listen Up Philip
    Writer-director Perry has made a bracing and very Roth-y study of ambition and itchy literary yearning. In another time and another world, Robert Altman captured the essence of William Faulkner's landscape by filming a non-Faulkner crime story, "Thieves Like Us." This is comparable to what Perry has done here.
  12. The Holy Mountain
    If you liked El Topo, this is more of the same, with less violence. [02 Mar 2007, p.C5]
    • Chicago Tribune
  13. Wonder Woman
    For the first time in a long time, I came out of a DC comic book movie feeling ready for a sequel. It feels right, at this actual historical moment, when men made of something less than steel are bumbling around trying to run things. Paging Paradise Island!
  14. Murina
    What the film has is visual authority and an eye for composition.
  15. 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.
    • 76 Metascore
    • 88 Critic Score
    Witness for the Prosecution
    The courtroom scenes are terrific, with brittle dialogue expertly delivered. And Wilder milks Christie's surprise denouement for all it's worth. [21 Nov 1986, p.92]
    • Chicago Tribune
  17. (500) Days of Summer
    The film has an easygoing, inquisitive spirit, heightened by Webb's visual conceits
  18. The Man Who Knew Too Much
    Hitchcock's glossier and more complex remake of his classic 1934 spy thriller, with James Stewart and Doris Day as the average American couple caught in a whirlwind of intrigue and terror. [26 Nov 1999, p.A]
    • Chicago Tribune
  19. Me and You and Everyone We Know
    It's a familiar dance, but something only July could invent, a vignette much like her characters: beautiful, flawed, organic--fine alone but better with the others.
  20. Spencer
    Die-hard devotees of “The Crown” likely won’t like the taste of ashes swirling around in all that’s served here. But there’s more than one way to dramatize the public/private schisms of celebrity, and this way feels right for this director, this actress and this movie.
  21. The Image Book
    If The Image Book is just a great whatsit, like the thing everyone’s trying to find in the Mike Hammer picture, why is it bracing and finally very moving?
  22. The Secret Lives of Dentists
    A surprisingly insightful, non-judgmental meditation on a troubled marriage-with-kids.
  23. The Revenant
    That first hour is big, and imposing. The rest grows smaller, with the script's self-conscious deeper meanings either layered on top, like pelts, or — more successfully — left to Luzbeki's meticulous images of a sun-dappled 19th century Eden now home to one too many Wal-Mart stores.
  24. House Party
    House Party aims for the mainstream and hits it- perhaps too often.
  25. Safe
    Though Haynes' methods are austere and his style dry, the terror of his narrative becomes more palpable as the film unwinds. The picture's eerie delicacy, meticulous technique and rapt formality may distance us, but they also steadily strip bare the panic at its core.
  26. Stronger
    Stronger is a movie you need to see, no matter how much you think you don’t need to see it.
  27. September 5
    What’s missing, even at its trim, tidy run time, is the sort of glancing realism and true nuance of a Paul Greengrass docudrama such as “Bloody Sunday.” What’s there, though, is enough for a consistently absorbing version of what the media did right and what it did wrong.
  28. The Naked Gun: From the Files of Police Squad!
    Hugely funny, but it's also liberating-precisely because it centers its aim on that cold, closed system and blows it apart. The straight lines are shattered; the empty spaces in the images are packed full until they burst. [2 Dec 1988]
    • Chicago Tribune
  29. At Eternity's Gate
    Dafoe never begs for attention or sympathy; he’s there, like the seasoned, craftsmanlike actor he is, as a conduit and a sort of medium.
  30. Iris
    It's good, but not great -- despite the heights to which Dench and Broadbent drive it. But those heights are lofty, the pain still stings.
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