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. Songcatcher
    Any film about the folk tradition is required to have a stellar soundtrack, and Songcatcher does not disappoint.
  2. Just a Kiss
    Marisa Tomei turns in a blitzkrieg performance.
  3. Paradise Now
    It's an intricate, sometimes implausible ideological thriller that might be better as a smaller-scaled, less% preachy psychological drama. Still, "Paradise" catches and keeps your attention because of its daring subject, real-life backdrops and the intensity of its actors.
  4. Tsotsi
    It's compelling material, even if you don't completely buy Tsotsi's transition.
  5. 13 Tzameti
    Creating a mood that suggests an unholy mix of Czech novelist Franz Kafka, American pulp fictionist Jim Thompson and French heist moviemaker Jean-Pierre Melville, Babluani's story is about the perils of get-rich-quick schemes.
  6. Changing Lanes
    A thrilling ride but also a thoughtful one, it's a movie that does manage to do more good than bad by the end of the day.
  7. The Adventures of Baron Munchausen
    Munchausen is indeed a beautiful, burgeoning, madly voluptuous movie from minute to minute and image to image; it's in the aggregate that the film fails to find the weight and the rhythm it needs to truly enthrall. [10 Mar 1989, p.A]
    • Chicago Tribune
    • 56 Metascore
    • 75 Critic Score
    Across the Universe
    If you're a Beatles fan who's not offended by people taking serious liberties with the arrangements of your favorite songs, the unrepentantly exuberant and seriously tuneful Across the Universe is pretty much a sure thing.
  9. Dune: Part Two
    Not a zingy marvel of narrative momentum. But it's not trying for that.
  10. Sleeper
    Sleeper has plenty of bald spots, lacks the inspired silent comedy of Take the Money and Run, but, these days, comedy beggars can't be choosers.
  11. In the Mood for Love
    Shimmers and glows. But it also stings a little -- like the lovely flame that dies and the smoke that, in yet another Cole song, gets in your eyes.
    • Chicago Tribune
  12. Set Me Free
    Shows us a filmmaker, unafraid of her emotions, unafraid to mine her past, someone clear-eyed, non-egoistic, full of life and warmth.
  13. Don't Bother to Knock
    Playing a deranged, possibly homicidal babysitter going bonkers in a hotel, Monroe steals the show in this efficient, vaguely creepy little thriller--despite the presence of both Richard Widmark (as her airline pilot target) and Anne Bancroft (as the hotel's pert lounge singer). [09 Dec 2005, p.C6]
    • Chicago Tribune
  14. All Is Lost
    The film has a quietly relentless quality. Redford is fully engaged and vital. I'll leave it to others to read greatness into All Is Lost. It's enough that it's good.
  15. Carlito's Way
    Big and violent, dark and operatic, both stingingly real and maddeningly overblown. But what gives it resonance is Pacino's performance.
  16. Eternal Sunshine of the Spotless Mind
    Always engaging, never boring. You constantly appreciate Kaufman's intelligence and Gondry's lively filmmaking.
  17. The Best Intentions
    Charming and gentle and steady-on, it contains few dramatic moments (except for one notable scene involving two children), even fewer surprises, and lacks the judgmental harshness and bite of Bergman's most celebrated creations. [14 Aug 1992, p.B]
    • Chicago Tribune
  18. 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.
  19. Goat
    There's a numbing aspect to Goat. But the best of it, I'd say, is honorably harsh; the subject should be difficult to watch, or the filmmakers aren't being honest about the way we operate as a culture, and what we allow and encourage our young men (and the young women who suffer the fallout) to put up with, still.
  20. Air
    Air is a good time, as well as a triumph of sports marketing in every conceivable way.
  21. Our Idiot Brother
    It's sweet, and low-key. It's very '70s in its vibe, which helps when the script veers in and out of formula.
  22. Confessions of a Dangerous Mind
    Reflects the sensibilities of its director, whose comedic performances in particular have indicated a game spirit and droll sense of humor.
  23. Identity
    A slick, bloody thriller, but it's also, to its credit, a genuine whodunit.
  24. Switch
    Switch is highly recommended for Barkin's work, which has to be considered on a par with Steve Martin's similar comic turn in All of Me. [10 May 1991, p.C]
    • Chicago Tribune
  25. Malcolm & Marie
    Early on, the camera is outside looking in through the couple’s windows and it’s as if we’re eavesdropping. That kind of cinematic intimacy is a huge draw, even if things are about to get ugly.
  26. The Automat
    True to the egalitarian allure of the restaurant chain itself, Lisa Hurwitz’s documentary The Automat is both a touching farewell and a fond hello-again for those old enough to remember the salisbury steak, creamed spinach and peach pie behind those little windows of nickel-fed discovery.
  27. The Great Debaters
    Good story, well told. Interesting concept. I wonder if people will go for it.
  28. Changeling
    Changeling fundamentally works; it holds you. But these issues of texture and detail matter too, and they hold clues as to why Eastwood's latest is a good, solid achievement rather than a great, grieving one.
  29. The Notebook
    May be corny, but it's also absorbing, sweet and powerfully acted. It's a film about falling in love and looking back on it, and it avoids many of the genre's syrupy dangers.
  30. I.S.S.
    It’s a surprisingly trenchant story for what seems to be a slight genre thriller, but then again, genre thrillers can be the best vessels for these kinds of messages.
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