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. Pellet
    Despite an abrupt ending, Mana gives us compelling, damaged characters who we want to help -- or hurt. Perhaps most important, El Bola forces us examine our personal motivations for each impulse and their consequences.
  2. Lethal Weapon 2
    Yet another disappointing summer sequel, Lethal Weapon 2, with Danny Glover and Mel Gibson reprising their cop-buddy roles in pursuit of South African drug lords. [7 Jul 1989, p.A]
    • Chicago Tribune
  3. Wuthering Heights
    Arnold's interpretation is taciturn, often entirely without dialogue, though it becomes increasingly conventional in its scene structure as it goes and as the actors hand off the key roles. In reality it's a bit of a slog. ... The movie plays like an idea for a 'Wuthering Heights' adaptation.
    • 70 Metascore
    • 75 Critic Score
    Only Human
    The film's snappy action and frank sexuality are reminiscent of "Women on the Verge of a Nervous Breakdown," while the mordant humor and conflicting identities are vintage Allen.
  5. Bombshell: The Hedy Lamarr Story
    It fascinates both as film history and as a sobering reminder of how little credit a woman like Lamarr received, even at the peak of her popularity.
  6. 21 Grams
    Blessed with one of the strongest casts of any American movie this year, this bravura film, with its radical structure, is full of risk and reward.
  7. The Lady in the Van
    Shepherd, apparently, was a genuine, needle-sharp wit and the way Smith plays her, the character's tart rejoinders are superhumanly perfect.
    • 70 Metascore
    • 50 Critic Score
    Caramel
    The film itself, while charming and gently funny, is entirely unexceptional.
  9. Rampart
    In relation to the well-made and sensitive confines of "The Messenger," Rampart required a more unruly visual approach. Beginning and ending with Harrelson, this sophomore effort is full of malignant life.
  10. I Swear
    I Swear is a film that was made with a lot of bravery and heart. It’s an important extension of John’s advocacy, but it’s also deeply moving and very entertaining.
  11. Late Night
    Amiable if frustrating picture.
  12. Sacco and Vanzetti
    One of the movie's most moving elements is the duo's famous prison correspondence, as eloquently read by Tony Shalhoub as Sacco and John Turturro as Vanzetti. But Miller's obvious passion and dedication shine throughout.
  13. City Slickers
    Women get the short end of the stick in the story, but there are big laughs mixed with some pain about growing up privileged. [7 June 1991, p.C-2]
    • Chicago Tribune
  14. RoboCop
    Paul Verhoeven's RoboCop is a stylish piece of work that leaves a sour aftertaste. [17 Jul 1987]
    • Chicago Tribune
  15. Cat's Eye
    It all adds up to a better-than-average entertainment that sags terribly in the middle. [15 Apr 1985, p.4C]
    • Chicago Tribune
  16. The Boys in the Band
    Parsons has some sharp, truthful moments, but his demeanor lacks the world-weary authority as written. (His zingers have lost a lot of their zing, it must be said.) Everyone else is wonderful, and the limitations of Parsons and Quinto, in the end, are just that — limitations of often effective work.
  17. Lady in White
    LaLoggia clearly loves his chosen medium: He has a passion for filmmaking-for ferreting out unusual angles, for planning elaborate camera movements, for designing elaborate special effects-that sometimes leads him way over the top. Yet it's the extravagance of his gestures that gives Lady in White its character and imaginative force. [22 Apr 1988, p.A]
    • Chicago Tribune
  18. Murder!
    Highly inventive, full of perverse touches and clever flourishes. [26 Nov 1999, p.A]
    • Chicago Tribune
  19. The Old Guard
    All too often, the human aspect gets lost in the spectacle of an action movie. But Rucka and Prince-Bythewood foreground that element of the story to create something with stakes, intrigue and philosophical weight. They make sure this cool concept and cast are given their due, and set up a sequel too. With any luck, we'll see this world again.
  20. Contagion
    He's the anti-Michael Bay, the un-Roland Emmerich. No fake-documentary "realism" here; Soderbergh values the silence before the storm, or a hushed two-person encounter in which one or both parties are concealing something.
  21. Adanggaman
    The film doesn't always take advantage of its dramatic potential (except for its strong soundtrack), as it relies too heavily on scenes of crazed warriors in makeup and costume, running and screaming and jumping up and down.
  22. The School of Flesh
    Once again, as love dies and illusions crumble, this natural actress (Isabelle Huppert) shines with human fire. [26 March 1999, Friday, p.B]
  23. Pieces of April
    In a movie that dwells so wittily and movingly on forgiveness, you have to grant pardon. Clarkson alone makes "April" a feast.
  24. Bad Santa
    The foulest holiday movie I've ever seen -- and the funniest.
  25. It Might Get Loud
    Why isn’t the film better? Guggenheim doesn’t seem to have prodded his subjects in any interesting directions.
  26. District B13
    A ridiculous but exciting action movie.
  27. Yellow Rose
    Yellow Rose is an emotional blunt instrument. It’s not exactly subtle, but then again, the best country songs, and the best coming-of-age tales, rarely are.
  28. The Peanut Butter Falcon
    Gottsagen is not disabled. He has Down syndrome. He is also as able-bodied and innately appealing a screen performer as we’ve seen in 2019. Nilson and Schwartz made good on their promise to Gottsagen, and now he has returned the favor.
  29. Madonna: Truth or Dare
    As she says in one of the film's more blatant thesis statements: "I'm not the world's best singer or best dancer, but that's not the point. I'm interested in pushing buttons." Madonna's doing just that in Truth or Dare, but what she chooses to reveal remains far more revealing - and entertaining - than almost any comparable self-portrait. [17 May 1991, p.C]
    • Chicago Tribune
  30. The Day Shall Come
    The jokes, mostly bitter, deadpan asides in a depiction of U.S. anti-terrorist activity as its own form of domestic terrorism, arrive just in time. The pacing’s both swift and, in proud, sour comic tradition, Swiftian.
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