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 Hateful Eight
    The Hateful Eight is an ultrawide bore.
  2. Back to School
    In this very funny Rodney Dangerfield comedy, there has been an important shift in Rodney`s entertainment persona, a shift that has made this small film a monster hit.
  3. The Illusionist
    One of the strengths of The Illusionist: Everyone in it actually appears to be acting in the same era.
  4. Office Space
    Drably shot, unimaginatively written and shallowly acted, it's a poor example of the "daffy, goofy, sex-crazed guys" occupational comedies that flourished throughout the job-obsessed '80s. [19 Feb 1999]
    • Chicago Tribune
  5. Pulse
    It's a horror movie for aficionados. But it's also for people who don't usually like horror movies at all, who regard them as cheap, crude and over-obvious.There's nothing cheap or crude in Pulse," a fine, shivery movie about the terror of solitude and emptiness.
  6. Una Noche
    The depiction of Havana neither sugarcoats nor grunges-up the harsh reality. The movement intoxicates, but the situations are tough.
  7. Charlotte's Web
    Now, about the spider. Julia Roberts voices Charlotte in a way that suggests ... not much, I'm afraid. She may be a genuine movie star and can be a good actress, but her voice -- and what she does with it -- never has been one of her strengths.
  8. Professor Marston & the Wonder Women
    It’s a lively and absorbing picture — intelligently sexy, tastefully salacious but serious enough to stick.
  9. For Your Consideration
    True to form, Guest's newest doesn't pull out the long knives. On the gentleness scale, this one's way over here, as opposed to the film of the moment, "Borat," which is way, way over there.
  10. Chavela
    More than a female singing cowboy, Vargas was ranchera incarnate, whether singing the material of drinking companion Jose Alfredo Jimenez or her own cathartic cries from the heart. The film is a fond but clear-eyed tribute.
  11. Hustle & Flow
    Brewer achieves near perfection in this tense, intimate meeting between two lifelong hustlers.
  12. A Civil Action
    This is Hollywood expertise and Hollywood civic idealism at high levels.
  13. Richard Jewell
    Richard Jewell is a sincere and extremely well-acted irritant from 89-year-old director Clint Eastwood. It’s destined to get under the hides of different moviegoers in radically different ways.
  14. Heaven
    The result is both engrossing and moving, a poem about a love that breaks barriers and passes understanding.
  15. The Bourne Identity
    Liman packs enough firepower into The Bourne Identity to please the summer action fan, including a reshot climax that contains one of the niftier stunts I've seen recently. The centerpiece action sequence is a bravura car chase through Paris, yet the moments that bookend it are equally impressive.
  16. Miracle
    While the movie's heroes lay everything on the line, Miracle is too content to skate along the surface.
  17. Bon voyage
    The story is engrossing, full of thrills and humor, the period re-creation wondrous and the pace intoxicatingly brisk. And the actors are all so good and their parts so well-written that we're engaged emotionally as well.
  18. The Night House
    In The Night House, narratively faulty but full of insinuating shivers, Hall once again expands her range. She intensifies what could’ve been just another woman with a flashlight in a haunted house movie, peering into the beyond.
  19. American Animals
    Tangling reality and fiction into one impossible knot is at the core of this story, and the form follows that function.
  20. The Long Riders
    A very Peckinpah-influenced film about the James Gang with four sets of real-life brothers playing the outlaw broods. [16 Jul 2004, p.C4]
    • Chicago Tribune
  21. Popstar: Never Stop Never Stopping
    "Popstar" is most comfortable with material that simply comes out of nowhere.
  22. Take This Waltz
    The actors are excellent. Rogen falls very comfortably into the role of a 29-year-old who has fallen very comfortably into a living thing - a marriage - and stopped working on it.
  23. Everybody Knows
    Everybody Knows finds Farhadi (working with longtime editor Hayedeh Safiyari) consciously going for quicker-than-usual cutting, rarely lingering over anything, always setting up the next part of the mystery. The acting’s uniformly strong, always at the service of a knotty story.
  24. Off the Map
    One of those sweet, intelligent, nicely made films.
  25. Hustle
    It’s not quite an airball; you won’t find yourself returning to it again and again, either. But there’s a part of me that’s just happy to see non-blockbuster movies about human-scaled dilemmas still getting made.
  26. Heartbeat Detector
    A rich, vexing experience.
  27. Thank You for Your Service
    While parts of Thank You for Your Service work well, overall, the film is inconsistent.
  28. Romántico
    The value of Romantico is that it lets us experience vicariously what Carmelo and others like him go through.
  29. Archangel
    Archangel is a perfectly self-contained aesthetic object, maddening in its arbitrariness and opacity, yet wholly absorbing in its flurry of urgent yet incomprehensible significations.
  30. Jailhouse Rock
    The all-time great Stoller-Lieber title number, performed by The King in jailbird regalia, is just one highlight of this '50s rock-the-house classic. [04 Sep 1998, p.H]
    • Chicago Tribune
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