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 Tales of Hoffmann
    The movie's lovers and its haters can agree on one thing. The third section, set in Greece and dealing with another, less interesting magic spell cast on Hoffmann's soprano sweetie (Ann Ayars), ranks as the weakest. [10 Apr 2015, p.C4]
    • Chicago Tribune
    • 74 Metascore
    • 75 Critic Score
    Go
    Ultimately is a fast-moving trip to nowhere. The buzz is enjoyable while it lasts, but don't be surprised by the sour aftertaste.
  3. Alien: Romulus
    The movie doesn’t quite stick the landing, piling on while lingering at the gate for an extra 10 minutes or so. The gore level may not be a shock to fans of Alvarez’s previous features, but for the casual franchise fan, well, it’s gory. But the best of Alien: Romulus reminds us that some franchises are more open to a variety of directorial approaches than others.
  4. Postcards from the Edge
    Postcards From the Edge is alive only when it's being as mean and vicious as its little heart can be, which is more than often enough. [12 Sep 1990, p.1]
    • Chicago Tribune
  5. Hunger
    It's a strength of this carefully composed, almost obsessively controlled picture that it has no interest in the conventional biographical focus on a subject.
  6. Flying Down to Rio
    Fred meets Ginger in this goofy South American romance; they were secondary leads who stole the show. [03 Nov 2006, p.C5]
    • Chicago Tribune
  7. In the Aisles
    The stars, it must be said, are slightly more interesting than the characters, which is another way of saying Rogowski and Huller amplify what’s there on the page.
  8. The Merchant of Venice
    An important, timeless and sometimes troublesome classic has been filmed successfully and at long last.
  9. Once Upon a Time ... in Hollywood
    The results? More evocative than provocative. But evocative is not nothing.
  10. Robots
    Wildly inventive, sweetly subversive.
  11. Cuba feliz
    It's hard to focus on the travails when the music is so lively and good.
  12. Nanny McPhee
    Nanny McPhee maintains a satisfying, all-ages balance between broad comedy and human warmth.
  13. Swingers
    Doesn't really add up to much -- except a good time. But it's smart, funny and cute. With all that going for you, who needs to be money? [25 October 1996, Friday, p.H]
    • Chicago Tribune
  14. Abandon
    The biggest surprise may be what the filmmaker doesn't show; he withholds a big dramatic payoff, so the audience must fill in the blanks.
  15. It Runs in the Family
    Never quite transcends its movie-of-the-week trappings. But either you're glad to have spent time with these three generations or you aren't. Bottom line: I was.
  16. Spring Breakers
    Starts out like a salacious, rump-centric and blithely bare-breasted hip-hop video and ends up in the realm of scary and inspired trash. That's not meant negatively.
    • 64 Metascore
    • 75 Critic Score
    Marie Antoinette
    It's true that this sugarcoated romp doesn't take itself, or its source material, particularly seriously, but if you're confident your grasp of European history can withstand the assault of two hours of bubbly entertainment, Marie Antoinette guarantees you a good time.
  18. The Hunger Games: Mockingjay - Part 1
    Not everything in “Mockingjay” is dynamic or remarkable. Director Lawrence, working from Peter Craig and Danny Strong's screenplay, occasionally mistakes somnambulance for solemnity.
  19. The Orphanage
    As in “Pan’s Labyrinth,” The Orphanage relies on a risky blend of clinically realistic horrors and poetic suggestions of an alternate world, one that can be visited, but at a price.
  20. She Hate Me
    A daring, entertaining, but somewhat disappointing affair, something of an overreacher despite Lee's usual pyrotechnics and a brilliant cast.
  21. Goyangileul butaghae
    The film has many strengths, but one of its major assets is its solid sight line. Though we might expect it to go sentimental - with its cute cat, torn families and sympathetic, pretty protagonists - it doesn't.
  22. Herod's Law
    Estrada can be faulted for not fully developing these supporting characters, or for not weaving them seamlessly into his story. His eye all along is so clearly and surely on The Point that at times plot details and peripheral performances are washed over.
  23. Foxcatcher
    It's meticulous, fastidiously controlled and a tiny bit enervated. I've seen it twice; it's successful enough in what it's attempting to merit at least one viewing. But even after two, you may struggle with what's not there, and should be, or could be.
  24. Wonderland
    Fast and frenetic and so unvarnished that it can make you feel unclean watching it. The film rubs your face in glamour and filth. But in the midst of the blood and hysteria, Kilmer plays Holmes with the dirty-angelic looks and wheedling charm of a seedy golden boy on the brink of doom.
  25. The Last House on the Left
    Hinges on humiliation and vengeance, which makes it like most other modern horror titles. Its focus on sexual assault, however, puts it in a different, more primal league.
  26. The Infiltrator
    The Infiltrator works best in its unglamorous scenes of everyday deception.
  27. Dune: Part One
    If you’re at all interested in what a reliably compelling, stubbornly solemn commercial filmmaker can do with money, imagination and no little nerve, Dune is epic enough — even if there’s a wee hole in the middle, where a more compelling protagonist belongs.
  28. The Legend of 1900
    The sort of movie that both rewards and tries your patience.
    • Chicago Tribune
  29. Red Eye
    McAdams, who resembles a more compact and subtle Geena Davis, captures both the strength and the insecurity beneath her sharp-witted heroine's aim-to-please facade.
    • 64 Metascore
    • 75 Critic Score
    Look Both Ways
    Watt's direction is stylish, and her choices feel sure-handed.
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