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 Beast
    Its devotion to the untamed territory of the human heart, its artfully discombobulating time and locale shifts, the shifting personae handled with marvelous fluidity by Seydoux; it takes you somewhere, and more than one somewhere.
  2. Spencer
    Die-hard devotees of “The Crown” likely won’t like the taste of ashes swirling around in all that’s served here. But there’s more than one way to dramatize the public/private schisms of celebrity, and this way feels right for this director, this actress and this movie.
  3. Illuminata
    A gloriously giddy movie about theater, love and artifice, an unabashed art film.
  4. Real Women Have Curves
    It's a warmly realistic comedy-drama that pulls you right into its lively, well-drawn L.A. milieu.
  5. 15 Minutes
    The surprise here isn't that 15 Minutes isn't a masterpiece; it's that the movie works at all.
    • Chicago Tribune
  6. Broken Arrow
    Broken Arrow is much better than the average big-time action movie because Woo has blazing style and a unique, even eccentric viewpoint. [9 Feb 1996, p.C]
    • Chicago Tribune
  7. Rocky V
    What is undeniably good about Rocky V is that our working-class hero returns to the grimy neighborhood from which he sprang. Seeing a more slender, "street" Rocky is a refreshing change of pace from the muscle-bound champ of Parts 3 and 4. [16 Nov 1990, p.C]
    • Chicago Tribune
  8. Everybody Wants Some!!
    The film doesn't so much build as glide, in a pleasing, half-stumbling way, to the first day of school, which links Everybody Wants Some!! to Linklater's previous film, the gentle masterwork "Boyhood."
  9. To a Land Unknown
    Fleifel’s film favors well-paced if slightly schematic prose, though the actors are more than good enough to keep you with these people every fraught minute.
  10. Fever Pitch
    The gall of Peter and Bobby Farrelly. To think that a romantic comedy might work absent a sleazy wager or maddening miscommunication takes a lot of chutzpah.
  11. Safety Not Guaranteed
    You may buy the ending or not. The filmmakers certainly do, which helps. And the film is modest but skillful and heartfelt, spiced just so by Plaza and company.
  12. Time
    Bradley’s film is a lyrical documentary, a piece that feels like a poem or a prayer, an almost meditative experience, set to a plaintive piano score.
  13. The Pursuit of Happyness
    While the film is roughly half grit and half sugar, it works because Smith sticks to a tougher, more rewarding recipe of 99.9 percent grit and only .1 percent sugar.
  14. The English Patient
    Boasts the elements of something greater than a love story. Too bad it devotes them to something less than a great love story. [22 November 1996, Friday, p.A]
    • Chicago Tribune
    • 26 Metascore
    • 75 Critic Score
    Millennium
    Millennium is a throwback to 1950s, B-grade science fiction movies in which the love story and the concepts had to cover for special effects that weren't too special. [30 Aug 1989, p.3C]
    • Chicago Tribune
  16. In Bruges
    After playing one too many sullen poseurs it’s clear Colin Farrell and Ralph Fiennes had a ball making an inky black comedy seething with grandiose invective.
  17. The Last Days
    The Last Days, despite its great subject, is not quite a great non-fiction film. It's too reserved and careful in tone to reach the heights of Alain Resnais' Night and Fog or Claude Lanzmann's Shoah. [12 Feb 1999, p.I]
    • Chicago Tribune
  18. Addams Family Values
    Addams Family Values is another big opportunistic, pre-marketed studio show, but it has laughs, flair. At its best, it's a valentine of venom, sent with mirth and malice aforethought.
  19. Space Station 3D
    The film's greatest moments take place in space. There, words are unnecessary, the images transfixing.
    • 60 Metascore
    • 75 Critic Score
    Tomorrowland
    At times Tomorrowland plays like such a throwback to those sweetly naive, low-rent, live-action Disney matinees of the '60s and '70s, George Clooney is like a Fred MacMurray with gravitas, gruff and grizzle, predictably warming up to a young dreamer (a terrific Britt Robertson) of cheer and vision.
  21. The Vigil
    Horror films often offer catharsis, but rarely are they also as deeply sorrowful as Keith Thomas’s The Vigil, a horror film based in Jewish faith and culture.
  22. My Brother Is an Only Child
    It’s a history lesson, a look at ’60s strife inside a corner far removed from our more familiar American images of that era. It’s also brightly performed, from sullen, boorish, yet charismatic Scamarcio to the instinctive, charming, infuriating characterization by Germano.
  23. Dogville
    May be the most fascinating, richly accomplished screw-up you'll see all year. Von Trier, who has always had a talent for provocation, nails another heroine to the cross while playing his role to the hilt - a moviemaking rebel in his own dog days.
  24. Midnight Special
    What happens, when it happens, is … well, either enough or too much, depending on your taste for the fantastic.
  25. 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.
  26. Men of Honor
    Inspirational biographical movie that really works.
  27. Million Dollar Arm
    McCarthy is following well-established story grooves here, but scene to scene, he allows the dialogue to breathe and reveal bits of character along with the more expedient bits of plot advancement.
  28. Mysterious Skin
    An absorbing story. Even though it takes you to places you may not want to go, the film never loses its human touch--that feel of skin on skin or of the past inescapably invading the present.
  29. The Sure Thing
    In the past few years, we've seen or heard every teenage joke at least twice. What we haven't seen much of is a little teenage tenderness, the kind that we find in the concluding scenes of The Sure Thing. [1 Mar 1985, p.FN]
    • Chicago Tribune
    • 78 Metascore
    • 75 Critic Score
    The House of Mirth
    What the movie occasionally lacks is dramatic juice. A reader of the novel will have a greater sense of the obstacles keeping Lily and Lawrence apart than fresh viewers of the movie will.
    • Chicago Tribune
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