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. The Princess
    More than anything, The Princess is a documentary that makes you think about its editing choices. There’s a curious lack of clarity or transparency around many of the unidentified voices (from broadcasters, presumably) that can be heard speaking over the assembled images and you’re left to wonder if this commentary originally accompanied said footage or if Perkins, the director, is mixing and matching.
    • 69 Metascore
    • 75 Critic Score
    Absolute Wilson
    Not only does this film offer a comprehensive portrait of a fascinating and underexplored leader of the American avant-garde in the late 20th Century, it ends up making some compelling connections between his works and the rich, occasionally self-destructive trajectory of the life that forged them.
  3. Tenet
    I wish Tenet exploited its own ideas more dynamically. Nolan’s a prodigious talent. But no major director, I suppose, can avoid going sideways from time to time.
  4. Le bossu
    De Broca never develops the transforming love onscreen and ends up with an awkward and indigestible movie.
  5. Sunshine State
    Visually, even compared to Sayles' own best work, it's somewhat prosaic - and dramatically, it suffers from the fact that its two main characters are kept so far apart. But the screenwriting and the cast redeem this film.
  6. The Eyes of Tammy Faye
    If the mark of a successful documentary is its ability to make us examine a tired subject in a fresh way, then Eyes is a rip-roaring success.
    • Chicago Tribune
  7. O Brother, Where Art Thou?
    A wildly original movie with astonishingly varied moods and influences.
  8. Go Tigers!
    A superbly crafted piece of humanistic cinema.
    • Chicago Tribune
  9. Wendell & Wild
    Wendell & Wild may not succeed, but I took heart from this: At least it doesn’t succeed in unconventional ways. That’s a sign of serious talents struggling with two of the most dreaded and unavoidable words in commercial cinema: “story problems.”
  10. Solitary Man
    Still, it's a pleasant surprise about an unpleasant guy brought to life by an ingratiating paradox, a movie star who has turned into a wily character man.
  11. Shallow Grave
    There's something in Shallow Grave that is admirable, beyond its obvious display of youthful talent. [24 Feb 1995]
    • Chicago Tribune
  12. The Bank Job
    Slick, ice-cold and enjoyable, The Bank Job is a bit of all right.
  13. Little Voice
    A slightly more light-hearted version of the "Shine" story. [4 December 1998, Friday, p.A]
    • Chicago Tribune
  14. Talk to Me
    Talk to Me has a great subject and a great actor working in tandem, reminding audiences that once upon a time media personalities used to fight The Man, not be The Man.
  15. The Birth of a Nation
    Parts of The Birth of a Nation are bluntly effective and beautifully acted, though one of the drawbacks, ironically, is Parker's own performance. Even the rape victims of the screenplay have a hard time getting their fair share of the screen time; everything in the story, by design, keeps the focus and the anguished close-ups strictly on Parker.
  16. Spider-Man: Far from Home
    It’s good. It’s fun. It goes out of its way to salute the visual effects armies that have made the MCU what it is today, for better or worse.
  17. Friday Night
    This movie gives us mostly the "what" when we need a bit of the "why" as well. In her other, better work, Denis always supplies it.
  18. Space Station 3D
    The film's greatest moments take place in space. There, words are unnecessary, the images transfixing.
    • 69 Metascore
    • 75 Critic Score
    The Living Desert
    The desert isn't necessarily a desolate place, and this film makes it come alive. [15 May 1987, p.65C]
    • Chicago Tribune
  20. Raising Arizona
    The film has an easy target in poking fun at rural folks, but it also has a warm message about individuality. It's also beautifully photographed. [8 May 1987]
    • Chicago Tribune
  21. Slacker
    Linklater`s creation is delightfully daffy-far better, as one of the slackers puts it, than a sharp stick in the eye.
  22. Echo In the Canyon
    How did an apparently sincere tribute turn into such a weirdly clueless vanity project?
  23. 25th Hour
    25th Hour struck me as one of the best movies of 2002, but it's also a film that will strike some of its audience as ethically dubious or threatening.
  24. The Hidden
    The film is violent and a little gross in one or two scenes, but there is an intelligence in its writing by Bob Hunt and direction by Jack Sholder that makes everything worthwhile. [30 Oct 1987, p.41C]
    • Chicago Tribune
  25. The Fault in Our Stars
    Woodley is an ace at handling laughter through tears — "my favorite emotion," as a character in "Steel Magnolias" once said. She improves with each new film, even when the films themselves aren't much.
  26. Welcome to Me
    The movie is small, but the actors make it seem larger, like binoculars turned around the right way.
  27. Europa
    A bizarre, dreamlike, surrealistic thriller, Zentropa is one of those films that is easier to admire than like. Creatively crafted and finely tuned, it is also an extremely cold, nihilistic work - as starkly efficient as the imperious railroad company that forms the centerpiece. [03 Jul 1992, p.C]
    • Chicago Tribune
  28. 21 Jump Street
    The drug humor in 21 Jump Street carries its own distinction, in that it's actually humor.
  29. Redbelt
    Not everyone can act his material with ease. But Ejiofor, who brings a serene gravity to every exchange, was born to do Mamet.
  30. The Man I Love
    Typical tough '40s Walsh noir. [08 Aug 1997, p.M]
    • Chicago Tribune
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