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. Lovely & Amazing
    Delivers a surprising, moving portrait of contemporary womanhood.
  2. Up in the Air
    Farmiga has never been better than she is here. Rarely does she get to do comedy, and she and Clooney give Up in the Air's sustained air of engaging disengagement a heartbeat as well as a romantic charge.
  3. Greyhound
    It’s consistent, and there’s enough juice in Hanks’ personal, human-scaled interest in ordinary heroism under fire to make the movie underneath the labels work on its own terms.
  4. No Way Out
    No Way Out emerges, paradoxically, as a film that is better than it has to be and not as good as it ought to be, but there is skill here, as well as an admirable willingness to try something new.
  5. The Sleepy Time Gal
    Playing a role of almost Bergmanesque intensity -- a tough, lonely woman dying of cancer as she examines her past -- Bisset is both convincing and radiant.
  6. Sweet and Lowdown
    Exquisitely designed, lovingly executed, beautifully scored and played, every hair and note in place, it's a movie full of irony, passion and bluesy riffs.
  7. Pirates of the Caribbean: Dead Man's Chest
    Two of the big action set-pieces easily outdo anything from the previous edition.
  8. Solaris
    Solaris, an exploration of outer space and inner anguish, reminds us that science fiction can embrace adult ideas and human drama as well as technology and futuristic action.
  9. The Holy Mountain
    If you liked El Topo, this is more of the same, with less violence. [02 Mar 2007, p.C5]
    • Chicago Tribune
  10. The East
    This is an effective genre piece. And Marling's quiet way of anchoring a scene is subtle enough to escape detection in almost any narrative circumstance.
  11. Ghostlight
    It’s less about the healing power of theater and more about the persuasive power of the right actors working with two responsive filmmakers, sidestepping pitfalls and finding little nuggets of behavioral gold en route to a most unlikely Romeo’s opening night.
  12. Sophie Scholl: The Final Days
    Everything about Sophie Scholl screams "martyr" and "saint." Jentsch will have none of it. Hers is a performance of supreme emotional control, yet clear emotional fire. The actress makes the icon human.
  13. Girl 6
    Girl 6 is a snappy, contemporary comedy about an aspiring New York actress who drifts into and out of the world of phone sex. It's an often sexy, funny show with interesting slants on modern New York culture and mores. [22 Mar 1996, p.F]
    • Chicago Tribune
  14. Disobedience
    Disobedience sometimes wants for rougher edges, and a fuller characterization for Weisz to play. But there’s real satisfaction in watching her, McAdams and Nivola inhabit a fraught and complicated relationship.
  15. I Used to Go Here
    The lightly carbonated fizz of I Used to Go Here has everything to do with Rey’s deftly chosen ensemble.
  16. Bully
    The best Hirsch's film can do, in the end, is remind us that bullying means more than we admit, and its effects aren't always immediately clear, even to loved ones.
  17. Tiger Eyes
    A gentle, honest and shrewdly realized film such as Tiger Eyes, based on the 1981 Judy Blume novel, shouldn't have to fight for a moviegoer's attention or an exhibitor's screens. But it's worth seeking out.
  18. The Spectacular Now
    The Spectacular Now is rare: a coming-of-age movie featuring a teenage couple about whom you actually give a rip.
  19. The Good Girl
    There's a shallowness about The Good Girl that can't always be excused as an accurate portrayal of a shallow milieu -- in the end, just like Justine, it's not as good as it could have been.
  20. Every Body
    The three people we meet here have worked every side of every street, by necessity: They’re artists of self-invention, activists of serious intent and just plain good company on screen.
  21. The Life of Reilly
    Director Barry Poltermann’s sweet little evocation of a show business career captures Reilly at “the twilight of an extraordinary life,” in Reilly’s words.
  22. Brotherhood of the Wolf
    Avoid it if you object to seeing people devoured by wolves, but see it if you want to howl at the moon.
    • Chicago Tribune
  23. Calendar Girls
    It creates a strong sense of a living, breathing community, and you root for its affectionately drawn characters as they experience the giddiness of triumph without forgetting the project's bittersweet inspiration.
  24. Damsels in Distress
    The film treats depression and despair and young love with just enough gravity so the movie doesn't float away completely.
  25. The Living Daylights
    In The Living Daylights, Dalton establishes his claim to the role; in the films that will follow, he'll have the chance to dig deeper.
  26. We Were Soldiers
    Probably the best thing you can say about We Were Soldiers is that it does justice to an awful conflict.
  27. The Batman
    There’s real filmmaking here in The Batman. Matt Reeves, the director and co-writer, has a serious interest in the tantalizing Batman/Catwoman dynamic. His script, in collaboration with co-writer Peter Craig, parcels out the action sequences carefully, and when they arrive, they’re both visually lucid and excitingly reckless.
  28. The Princess Bride
    The Princess Bride wants to be sweet and warm, but it doesn't want to take the chance of seeming uncool -- and that is an attitude far, far removed from innocence. [9 Oct 1987]
    • Chicago Tribune
  29. Invaders from Mars
    Director Tobe Hooper seems to want his homage and his "Saturday Night Live," too. One minute he's reveling in hair-raising terror; in the next, he's dishing up naughty, nasty camp. [9 June 1986, p.5C]
    • Chicago Tribune
  30. The Matrix
    The writing remains more intelligent than most thrillers, and the action is executed with such panache that even if you don't buy the reality of The Matrix, it's a helluva place to visit.
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