Chicago Tribune's Scores

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For 7,603 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: 5,107 out of 7603
  2. Mixed: 1,474 out of 7603
  3. Negative: 1,022 out of 7603
7603 movie reviews
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  1. Macbeth
    Partly, I think, the problem lies in Kurzel and his key performers being so determined to make the language conversational and naturalistic, they forgot to make the individual scenes move.
  2. Warrior
    Every time you start resisting, somehow the film makes the sale, again.
  3. Far from the Madding Crowd
    I can't help but wish this new Far From the Madding Crowd came with the thrill of interpretive discovery, the way Jane Campion gave Henry James' "Portrait of a Lady" a good shaking-up or, more conventionally, the way James Ivory mainstreamed E.M. Forester in "A Room With a View" and "Howards End."
  4. Sleepwalk with Me
    With a refreshing lack of fake glamour, the film captures what it's like to be an initially unpromising comedian on the road.
    • 71 Metascore
    • 63 Critic Score
    Pleasantville
    More clever than coherent.
  6. Tales from the Gimli Hospital
    An original and insinuating black comedy from Winnipeg, Canada, where something very strange seems to be going on. The pastiche is nearly perfect, played with an utter sincerity that makes it impossible to tell just where the jokes are coming from.
  7. Blackmail
    Hitchcock's first talkie, begun as a silent film and then converted midstream, alternates stiff dramatic scenes with brilliant, highly visual suspense sequences. [26 Nov 1999, p.A]
    • Chicago Tribune
  8. I Love Boosters
    For such heavy political themes and rallying cries to action, Riley makes it wildly entertaining, with eye-popping visuals, and a circus-inspired score by Tune-Yards. What’s most important is that among all the mishaps and misadventures, his message never loses its clarity: Liberation is for everyone, and, most importantly, it should be fun.
  9. Requiem for a Dream
    Often, Requiem for a Dream is as technically inventive and daring as the Scottish heroin film "Trainspotting," but it has more resonance and feeling. And when Burstyn is on screen, it often becomes heartbreaking.
  10. Separate Lies
    The writing isn't always up to the actors, who all give the kind of expert, theatrically ingenious performances that often seem director-proof.
  11. Where the Wild Things Are
    Not since Robert Altman took on “Popeye” a generation ago, and lost, has a major director addressed such a well-loved, all-ages title. This time everything works, from tip to tail.
  12. Little Fish
    Hartigan has a knack for sensitive, human dramas, and while Little Fish takes place in a near-future heightened reality, the story is relatable not only because we’re all living through a pandemic ourselves, dealing with grief and loss on a scale that ranges from the deeply personal to the impossibly large, but because this kind of loss is also very real.
  13. Revoir Paris
    While many will find Revoir Paris moving, for me it’s because the performances do the heavy lifting, effortlessly, while the material lays everything out too neatly. The mess of life, the anguish of what Mia is going through, deserves a clear-eyed exploration and a little less gloss.
  14. Roman de gare
    The ultimate charms of the movie lie in Lelouch’s confident control, in his telling of the story his way, almost stubbornly, his canvas splattered with both garish and hypnotic splotches.
    • 71 Metascore
    • 88 Critic Score
    Earth
    An extraordinary movie on many levels.
  16. Shadow of the Vampire
    His (Dafoe's) re-creation of Schreck is an Oscar-level performance, but more than that, it's an unforgettable one: great, scary, horrifically funny.
  17. A Woman Is a Woman
    Moves us now because it's so playful and the players are so young - and because later, when Godard tried to play for keeps, in his self-consciously radical films of the late '60s and '70s, he began to lose his game.
  18. Twin Falls Idaho
    If you're in the mood for something strange, this film may please you, twice over.
  19. Carandiru
    A prison movie of unusual richness and jarring power.
  20. Collateral
    Really two movies: a taut, terrific, realistic crime drama, and, by the end, an over-the top, high-tech extravaganza which tries to out-Woo John Woo and turn Cruise into another Terminator.
  21. Carnage
    Confidently directed and tightly constructed, Carnage announces the presence of a fresh, powerful directorial mind with each frame.
  22. Grbavica: The Land of My Dreams
    Zbanic, who lived through the Bosnian war in Sarajevo, is an unusual talent. Here, she makes us feel the hell her characters once lived through as well as the leftover, stinging pain of today.
  23. The Tenant
    Terrifying and darkly funny. [13 Jun 2004, p.C4]
    • Chicago Tribune
  24. Testament
    Testament does manage to convey in its surprisingly quiet and non-theatrical way the very point that its creators surely wanted to make: that human stupidity can destroy the world, but it cannot erase human dignity. [08 Nov 1983]
    • Chicago Tribune
  25. The Mighty Quinn
    There is little to dislike in The Mighty Quinn, but neither is there any compelling reason to see it. [17 Feb 1989, p.C]
    • Chicago Tribune
  26. Things Change
    For much of its length the picture is brilliantly successful-light, surprising and, because it asks the audience to participate in its creation, unusually engaging.
  27. Manhattan Murder Mystery
    Manhattan Murder Mystery is of absolutely no consequence save for the regular laughs it provides. However, it provides enough so that even the most virulent Woody-haters may smile, if they can bring themselves to the theater in the first place. [20 Aug 1993]
    • Chicago Tribune
  28. Don't Breathe
    The film is a clever if increasingly mechanical suspense contraption, yanking our sympathies this way and that, before turning into a different sort of movie entirely.
  29. Molly's Game
    The best of Molly’s Game, however, is more on the “Social Network” level, edgy and rhythmic. This is Sorkin’s feature directorial debut, and I’m happy to say it doesn’t look that way.
  30. Star Trek IV: The Voyage Home
    Nimoy directs the comedy in a loose, relaxed, almost sketch-like manner, but when the film moves into its multiple-cliffhanger climax, he's still able to generate some genuine dash and tension. The only drawback is that the Enterprise gang is starting to look a little long in the tooth for such strenuous action.
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