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. Shadow Magic
    Succeeds as a paean to movies and movie-watching.
  2. Julie & Julia
    One can’t help but wonder if Ephron would’ve been better off focusing exclusively on Child: She’s simply more interesting screen company.
  3. Avengers: Age of Ultron
    Entertaining as much of Avengers 2 is, especially when it's just hanging out with the gang in between scuffles (the "Guardians of the Galaxy" lesson, learned), Whedon’s picture meets expectations without exceeding them.
  4. Captain America: The First Avenger
    The most stylish comics-derived entertainment of the year...It's paced and designed for people who won't shrivel up and die if two or three characters take 45 seconds between combat sequences to have a conversation about world domination, or a dame.
  5. Three... Extremes
    A bloody strange movie--and a surprise. Who would have thought that you could put together an anthology of "extreme" Asian horror featurettes by three cutting-edge Asian directors where the most tasteful, restrained contribution was the one by Japanese mad dog moviemaker Takashi Miike?
  6. Something's Gotta Give
    Doesn't always sizzle, but its stars do.
  7. Patti Smith: Dream of Life
    If one thing holds the picture back, it’s the self-conscious album-cover aesthetic of Sebring’s visual approach.
  8. Sausage Party
    I laughed a lot in the first half, before the movie's repetitive jackhammer pacing, which isn't ideal for any kind of comedy, began working against its better instincts.
  9. Diary of the Dead
    The way Diary of the Dead chooses to deliver its gore, you know you’re in the hands of a grown-up uninterested in the excesses of the “Saw” or “Hostel” pictures. I mean, there’s gore, sure, and flesh gets eaten. But the way Romero shoots and cuts the shot of a girl’s reunion with her parents, one dead, one undead, it’s played for keeps--the right kind of gross, with a touch of mournful gravity.
  10. White Hunter Black Heart
    Though critical of the director's selfish character, the story does make a case for the macho man as someone who won't tolerate phonies. [14 Sep 1990, p.C]
    • Chicago Tribune
  11. Innocent Voices
    Quite affecting, even if it doesn't rank with classics like "Open City" or "Forbidden Games."
  12. Miller's Crossing
    The Coens have technique and they have taste; what they do not yet have is the ability to move beyond their handsome imagery to the human center of their material. [5 Oct 1990, Friday, p.C]
    • Chicago Tribune
  13. Me You Them
    Manages to find the magic through its documentary style, and manages to find the erotic in the commonplace. Not since the glory days of Italian neo-realism has lust among the peasants looked so good.
  14. Beyond the Clouds
    As we watch, we can sense, once again, the eye of a painter, the dreams of a poet and, tying them together, the vision of a master.
    • Chicago Tribune
    • 66 Metascore
    • 75 Critic Score
    Stuart Little 2
    A warm, witty, consistently funny family movie with a sweet message about loving yourself, be you a mouse or whatever.
  16. Auto Focus
    Skates over depravity when, like Crane, it should have dug down deeper.
  17. Dark Horse
    It's a Solondz film; it's a given. Abe may deserve all that comes to him, but the question of how he got this way sustains the picture, against all odds.
  18. Dead Again
    Emerges as cutty, indistinct and confused, full of shots that don't match and spatial conceptions that would look flat even on TV. The more Branagh strains to appear “cinematic,'' the more he looks like a man of the theater. [23 Aug 1991, Friday, p.B]
    • Chicago Tribune
  19. Creed II
    By the end, the movie has become a shameless and, yes, effective ode to fathers and sons everywhere.
  20. Ben Is Back
    This addiction drama is primarily a showcase for its superb leading performers, and in its compressed time frame (24 hours around Christmas) it feels like a well-made play more than a fully amplified feature film. The acting is enough, though.
    • 66 Metascore
    • 75 Critic Score
    Rush
    Zanuck seems unsure whether to swoon or to scold, and the distance she preserves between herself and the characters occasionally feels smug and exploitative. Still, Leigh preserves her integrity throughout, adding an inflexible reality principle to the often extravagant goings-on. [10 Jan 1992, p.J]
    • Chicago Tribune
  22. Pamela, a love story
    So much of Pamela, a love story is about a woman searching for love from men who saw her as a person to be obtained — and then controlled. The best love story might just be the one she develops with herself.
  23. The Founder
    Certain things get fudged in The Founder, among them Kroc's middle marriage, and director Hancock can't completely resolve the warring strains in what he sees as Kroc's personality. But that's what gives the movie its tension, and it works.
  24. Mulan
    Shooting largely on New Zealand’s South Island, Caro has a beautiful knack for fluid transitions: the witch entering the body of an unsuspecting traveler in silhouetted shadow, for example, or a simple, fixed composition of Mulan riding from one side of the screen to the other, in extreme long shot. The dizzying wuxia martial arts action, with warriors sprinting up, down and sideways, defying gravity, propel the action scenes without overwhelming them.
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