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. Enemy of the State
    To say Enemy of the State is senseless is an understatement. This is a movie where logic is the enemy.
  2. Poison
    Poison is not a film that will play the shopping malls, but it remains a most imaginative, exquisite and compassionate piece of work.
  3. FernGully: The Last Rainforest
    FernGully is surprisingly courageous in its politics and adventurous in its stylistic choices.
  4. Lock, Stock and Two Smoking Barrels
    Plenty of fun, less for its many plot twists than for its large and varied assortment of vibrant characters. [12 Mar 1999]
    • Chicago Tribune
  5. Runaway Train
    Although the film isn't an empty picture, it is too much of a good thing. Voight delivers a wonderful speech to Roberts about survival, but it's only one of many such monologues. Similarly, Roberts is tiring in his frantic reactions.
  6. In the Aisles
    The stars, it must be said, are slightly more interesting than the characters, which is another way of saying Rogowski and Huller amplify what’s there on the page.
  7. Minnie and Moskowitz
    The wild L.A. romance of a museum curator and a parking lot attendant. [09 Jan 1998, p.C]
    • Chicago Tribune
  8. The Sapphires
    The script is corny and cliched and goes the way you expect it to go. But those things never stopped any movie from working with an audience.
  9. Ivansxtc
    This cynical film paints a hugely unflattering portrait of life in Hollywood's fast lane. I have no way of knowing exactly how much is exaggeration, but I've got a creepy feeling that the film is closer to the mark than I want to believe.
  10. Garden State
    Though too dear at times, overly sentimental in its conclusion and sporadically overreaching to be the voice of a generation, it's otherwise emotionally spot-on as it follows Andrew back to his Garden State hometown for his mother's funeral.
  11. The Year My Parents Went on Vacation
    Pulls you into a well-observed world and its characters.
  12. Long Shot
    It's "Veep," but less absurdly acid-tongued, and a lot more swoony. Still, the incisive cultural and political commentary cuts deep, and Theron and Rogen turn out to be a winning pair.
  13. Freaky
    The revelation here is Vaughn, who in his 6-foot-5-inch frame, physically channels the body language and gestures of an otherwise petite, cowering teen.
  14. The Legend of Ochi
    The movie is tightly packed with incident, maybe overpacked, but Saxon’s fairy tale is an intense, lived-in experience, its centuries-old folkloric atmosphere dotted with all the usual intrusive elements of progress.
  15. Schultze Gets the Blues
    The scenery is pretty and the locals endearing, but Schorr never gets past charming.
  16. Furious 7
    It's roughly as realistic as Georges Melies' "A Trip to the Moon," of course. But revisiting our old pals (one of whom is played by an actor who is no longer with us) and watching them survive one unsurvivable collision or plunge after another, continues against the odds to have a walloping charm all its own.
  17. Upgrade
    Whannell is learning how forward motion can allow a filmmaker to get away with some pretty outlandish brutality. I wish the talk-dependent sequences weren’t so foreshadowed and clunky; only Gabriel transcends them.
  18. The Rose
    It's an old, cliche-ridden story made fresh by Middler's energy.
  19. The Boy Who Could Fly
    The surreal is appropriate to a story based on fantasy, but the unevenness in tone here makes watching ''The Boy Who Could Fly'' a little like hitting airpockets in a puddlejumper.
  20. Brothers of the Head
    Facetious form dictates hollow content in Brothers of the Head.
  21. The Story of Vernon and Irene Castle
    Musical bio of the early 20th Century dance team; their weakest. [03 Nov 2006, p.C5]
    • Chicago Tribune
  22. Patti Cake$
    The film ticks a lot of boxes. Underdog triumph. Showbiz triumph. Working-class heroics. Flagrant, often effective filmmaking technique, from a first-time feature writer-director, Geremy Jasper.
  23. Death at a Funeral
    Death at a Funeral is lethal farce, combining hints of "The Lavender Hill Mob," doses of Joe Orton and a smidgen of the Farrelly brothers' scatology in its mix.
  24. Guardians of the Galaxy Vol. 2
    This one's a step down from the original.
  25. Deep Cover
    Deep Cover is a rousing entertainment but also a cunningly subversive piece of work, one that burrows from within genre conventions to defeat expectations and undermine smug certainties. It`s a movie that gets under your skin in a way that no amount of speech-making can.
  26. The Life of Chuck
    After the persuasively strange first chapter’s over, “The Life of Chuck” is a duller kind of strange.
  27. Don't Worry, He Won't Get Far on Foot
    It's Hill who proves once again he's much more than his comedic origins, crafting a compelling portrayal of the elusive Donnie that just about steals the whole movie.
  28. Reality Bites
    Underneath, it's a flashy crock-another piece of self-congratulatory formula wish-fulfillment masquerading as hip. This would-be "inside" comedy about not selling out sells out in virtually every scene.
  29. Rosewater
    Stewart did direct Rosewater, and even with its limitations, the film works. Stewart has serious, dramatically astute talent behind the camera, as well as (big shock) a sense of humor.
  30. Stranger Than Fiction
    When Ferrell and Hoffman do their thing together, a charming bit of whimsy becomes something more. It becomes really, really funny.
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