Chicago Tribune's Scores

For 7,613 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:
7613 movie reviews
  1. Eccentric, miscast (though stimulatingly so), not for all tastes but far from flavorless.
  2. A highly satisfying miniature. Its subject may be adolescence, and some of its pot-smoking, kick-back humor is adolescent too--in a good way. But the film's calm and witty visual rhythm offers a rueful awareness of time passing and of time wasted, in ways that people tend not to appreciate fully until long after they've wasted it.
    • 27 Metascore
    • 38 Critic Score
    There is some directorial skill here--Argento should be congratulated for a few interesting storytelling choices--but the end result feels grimy and strangely pathetic.
  3. Bullying is not easy to watch on screen, even--or perhaps especially--if the viewer had the fortune to avoid either side of the bully/bullied equation.
  4. The power of art to redeem the pain and cruelty of life is demonstrated to enormous effect inShakespeare Behind Bars.
  5. It's an ensemble piece with a dark, salty mood that reminded me of Robert Altman and Robert Aldrich, with a touch of Francis Ford Coppola. It's notably non-"gung ho."
  6. Willis never develops a rapport with Def, and in the end it's not the predictable action but this lack of chemistry and camaraderie that sinks 16 Blocks.
  7. Like its title heroine, it's sparkly, pretty and flirty--but often all wet.
  8. An uplifting, funny and engaging star-studded affair.
    • 79 Metascore
    • 75 Critic Score
    It's all about the pictures. Those images create a vision of nature that even a strip miner would want to conserve.
  9. Though it's not the great film "Grand Illusion" is, and though it may strike some as a little schmaltzy, it still has some of that earlier film's deep feeling and empathy for soldiers trapped in the jaws of war and for the joys of Christmas--for believers and non-believers alike.
  10. Proves, unhappily enough, how U.S.-style media politics is spreading around the world.
  11. A preposterous screwball psychological drama.
  12. It's compelling material, even if you don't completely buy Tsotsi's transition.
  13. The polite word for all this is "repurposing," a euphemism for "hauling someone else's garbage."
    • 45 Metascore
    • 63 Critic Score
    Gussied up for the big time, Perry now is aiming himself squarely at a mainstream, middle-class female audience -- with some sops for their dates.
  14. I have a sneaking suspicion that Running Scared could become a cult classic.
  15. Equally fascinating and frustrating.
  16. It's not exactly a good time at the movies, and even as pure education, it's a rather dull film with very little dialogue, but Glawogger does succeed in capturing the images, sounds and even imagined scents (oh, those burning goats) of contemporary hard labor, work that has become nearly invisible to us cubicle jockeys.
  17. A film that art-house audiences in 1959 loved madly. And who can blame them? A buoyant, searingly colorful retelling of the Orpheus and Eurydice myth set in Rio de Janiero, writer-director's Marcel Camus' movie is a romance heightened by its backdrop.
  18. In many respects, Forgiving Dr. Mengele is an ordinary documentary, stylistically and technically unexceptional. But its subject enobles the work. So does Kor : determined, indomitable, and by the end of the movie, a symbol herself of both survival and mercy.
  19. Quite similar to the first film, but this is one time when a reprise is welcome. Ages 7-11, but actually, it's for everyone. [27 Oct 2006, p.C5]
    • Chicago Tribune
  20. It's formulaic and frequently over the top, 30 minutes too long and altogether too slow, but oh when those gorgeous, graceful pups tilt their heads just so … love.
  21. First-rate actors bail out second-rate directors all the time, and Freedomland serves as the latest example.
  22. A contemporary Russian movie that you could honestly call revolutionary, more for its style than its politics.
  23. Everything about Sophie Scholl screams "martyr" and "saint." Jentsch will have none of it. Hers is a performance of supreme emotional control, yet clear emotional fire. The actress makes the icon human.
  24. It's just OK. Not great. Not awful. Not particularly memorable. Not entirely forgettable. Just OK.
  25. A mild off-season cinematic bid for the young and the restless.
  26. Final Destination 3 is a gorefest that should either slake your worst appetites or drive you to the exits.
  27. This movie, an efficient time-passer at least until the plot starts obsessing over the fate of the family dog, is more into gadgets than people.

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