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. Frozen
    It's entertaining, and following an old Disney tradition Frozen works some old-school magic in its nonhuman characters.
  2. They Died with Their Boots On
    Errol Flynn deifies Gen. George Armstrong Custer in a silly though well-directed biopic. [25 May 2001, p.C1]
    • Chicago Tribune
  3. Solas
    A beautifully acted and deeply compassionate study of ordinary people coping with the vicissitudes of life.
  4. On the Run
    The sheer stark speed and measured violence of On the Run catch us up quickly--and the film becomes a searing portrait of a killer-idealist lost out of time.
  5. Waitress
    The ending of Waitress is so beguiling and whimsical that it makes you, like its diner's patrons, hungry for more--and it makes you miss that red-headed movie auteur/pastry chef/heart stealer Shelly even more.
  6. The Skeleton Twins
    And it's too bad The Skeleton Twins settles for tidy, slightly hollow narrative developments. The performers are ready to rip. For many they'll be enough.
  7. The Bridesmaid
    A classic of realistic terror, in which passion and murder can't lie buried.
  8. Natural Born Killers
    Natural Born Killers is visually complex and thematically simple. Mixing film and video, black-and-white and color, morphing and animation, Stone breaks visual ground here for a major studio release. [26 Aug 1994, p.B]
    • Chicago Tribune
  9. Me and Earl and the Dying Girl
    The chief limitation of Me and Earl and the Dying Girl is an old story: However touching, Cooke's Rachel is there mainly to prop up the sweetly messed-up young male lead, and then to quietly guide him toward adulthood.
  10. 78/52: Hitchcock’s Shower Scene
    Philippe’s strongest work in 78/52 is the historical context, ranging from the images and roles of mothers in 1950s popular culture to a key handful of movies photographed in black and white (as was “Psycho,” partly to get the blood past the censors) released the previous year, 1959.
  11. Sicko
    Sicko doesn't formulate a way out of this heartless craps game we're playing. It is, however, a very entertaining position paper, and a reminder that we should do better by more of our citizenry.
  12. Monster
    I don't think it's a great movie -- though Theron's is a near-great performance -- but it's not one you can easily forget.
  13. The Lady and the Duke
    A vivifying film, though it's done in such a strange style that it takes a while to get used to it.
  14. Daddy Longlegs
    I don't know if what the Safdies endured growing up was akin to what audiences experience in Daddy Longlegs. But I'm very glad they survived to make a very good film about it.
  15. Tabloid
    One of Morris' swiftest works, yet also one of his saddest, Tabloid reveals among other things what happens when one person's definition of ordinary healthy romance is undone by another's.
  16. Monkey Business
    Volcanically funny. [23 Dec 2005, p.C7]
    • Chicago Tribune
    • 74 Metascore
    • 88 Critic Score
    The Watermelon Woman
    The Watermelon Woman is quite smart, remarkably sophisticated filmmaking for a first-time director.
  18. Key Largo
    Maxwell Anderson's poetic-political play about crime and fascism, set in a "Petrified Forest"-style ensemble during a Key West hurricane, was turned by Huston and co-writer Richard Brooks into a crackling thriller. [27 Nov 1998, p.Q]
    • Chicago Tribune
  19. Frankenweenie
    The entire project is carefully wrought in visual terms and more than a little familiar. Sometimes even a well-applied pair of jumper cables can't do the trick.
  20. Code Unknown: Incomplete Tales of Several Journeys
    Code Unknown is a film you think more than feel. Though each scene is executed close to flawlessly, the cumulative effect is often oppressive. But at the center of the film -- the real reason it was made -- is Binoche, one of the genuinely radiant presences in movies today.
  21. Black Hawk Down
    It's one of the most ferociously convincing physical re-creations of warfare ever put on screen.
  22. Divine Intervention
    About the Israeli-Palestinian conflict, but it treats war as a cosmic joke and its participants as hapless but recognizably human clowns.
  23. Radio Days
    The brilliance of the film is the way in which Allen pays tribute to radio while subtly condemning television, which, he seems to be arguing, has partially robbed us of our imaginations.
  24. Strawberry Mansion
    I like this film for many reasons. Its sensibility is truly a gentle one. The screenplay may not cohere in ways designed to please the dream-logic-averse, but its wit is neatly matched by the wit of the visual landscapes.
  25. Woman of the Year
    It's very smart, very sleek and one of the great Hollywood romantic comedies. [04 Jul 2003, p.C2]
    • Chicago Tribune
  26. Southside with You
    Southside with You is best taken as a reminder of the value of the slow relational build, of taking your time and actually talking, and actually listening, with someone new. Even if there's not a staggering political future in your shared future.
  27. Rize
    A compelling, bittersweet hybrid of a movie.
  28. Bottoms
    In the end, all these young women want is a foothold on life, a little less humiliation and some physical intimacy. If that makes Bottoms snarky on the outside but conventionally heartfelt on the inside, well, that’s fine, actually.
  29. Wild
    Like the Danny Boyle film version of "127 Hours," Wild is extremely nervous about boring its audience with its protagonist's aloneness. Still, Witherspoon and Dern are reason enough to see it.
    • 74 Metascore
    • 75 Critic Score
    The Ground Truth
    Compelling and intensely provocative.
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