Chicago Tribune's Scores

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For 7,599 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 1.5 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: 5,104 out of 7599
  2. Mixed: 1,473 out of 7599
  3. Negative: 1,022 out of 7599
7599 movie reviews
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  1. Imagine Me & You
    I guess there's something progressive going on when a lesbian love story gets to be just as dreadful and tacky as most straight ones.
  2. Little Jerusalem
    The film, both light-hearted and serious, suggests that freedom comes more easily within restrictions--and that's true of Albou's approach as well.
  3. Manderlay
    The acting has the bravura stage eloquence of Broadway Shakespeare and the movie is narrated, beautifully, by John Hurt.
    • 58 Metascore
    • 50 Critic Score
    Roving Mars
    The sad thing is, even for NASA/space fans, a snooze isn't out of the question despite the film's scant 40-minute running time.
  5. Tristram Shandy: A Cock and Bull Story
    It's a little bit "Tom Jones," a little bit "Adaptation," a smidge of Monty Python and a dash of Fellini's "861/2," right down to Winterbottom's use of music by the brilliant Fellini composer, Nino Rota.
    • 60 Metascore
    • 50 Critic Score
    Go for Zucker
    It remains a diverting, mildly entertaining movie, far short of provoking the controversy (or hysterical laughter) it apparently prompted during its release in Germany.
  7. Looking for Comedy in the Muslim World
    The results are distressingly flat, frequently patronizing and, for a topical comedy, strangely out of it.
  8. Why We Fight
    A pretty entertaining case against our current war and question the integrity of our president, but more than that, these docs manipulate imagery, music and sound bites to work their audiences into a frenzy.
  9. End of the Spear
    A childish and visually repetitive movie, ham-fisted, proselytizing and overtly simplified.
  10. The Real Dirt on Farmer John
    In many ways, it's a painful story, but it's also full of curious triumphs and outlandish redemptions.
  11. Glory Road
    The movie's great end-title sequence redeems everything. Under the credits, we see and hear the real-life game veterans as they are now--including, movingly, ex-Lakers coach Riley.
    • 52 Metascore
    • 75 Critic Score
    Last Holiday
    We may know exactly where we're going, but the journey is so much fun, all but the most peevish audience members will find it impossible to complain.
  13. Tristan and Isolde
    Mindless, predictable and mildly entertaining.
  14. Fateless
    It's a work that sears the heart and conscience. The events are annihilating, the way they're told both beautiful and terrifying.
  15. The Promise
    I'm not sure the director should return to this particular genre, whatever you'd call it. But he is, in fact, a real director.
  16. Match Point
    Match Point is fantastic to look at, sharply dramatic and Allen is--who knew?--a master of suspense.
    • 56 Metascore
    • 63 Critic Score
    Wolf Creek
    As horror movies go, this is a pretty good one.
  18. Casanova
    Hallstrom gives us a genial interpretation and a supremely good-humored film.
  19. Rumor Has It...
    Easygoing but surprisingly likable comedy.
  20. The New World
    Malick's nature documentarian impulse has never been more flagrant than in The New World, yet it has never made more organic sense. The film, which is superb on every technical and design level, has both greatness and fuzzy-headedness in it.
  21. The Matador
    Works remarkably well as a stylish and unconventional buddy flick--cruising along with wit and wisdom.
  22. Munich
    It's when Spielberg stops trying to think so hard that Munich works best. Though some of the assassination scenes feel a little too choreographed, more "West Side Story" than "Bourne Identity."
  23. Caché (Hidden)
    In this movie, Auteuil ("Jean de Florette") and Binoche ("Chocolat") are such marvelous actors, they can shift us in almost any emotional direction with a speech or a glance.
  24. The Ringer
    Knoxville, Jed Rees and Bill Chott act daffy and more impaired than their counterparts, and that never sat right with me. This may not be the equivalent of acting in blackface, but it's awfully close.
  25. Fun with Dick and Jane
    This is familiar clowning territory for our actors -- hypothetically well-matched here, with Carrey a far more sophisticated and energetic comic partner for Leoni than Adam Sandler was in "Spanglish."
  26. The White Countess
    It's a very classy, finely made film, and, as one watches it -- particularly those last sweeping scenes of political turbulence and escape -- one feels both pain at their (Merchant-Ivory) parting and grateful for what, together, they achieved.
  27. Cheaper by the Dozen 2
    Compared with Martin's first "Dozen" and the recent mega-family movie "Yours, Mine and Ours," this sequel is Academy Award material.
  28. The Family Stone
    Parker is pretty much a disaster here, shrill and phony and, worst of all, spineless. She reminded me of Tea Leoni in "Spanglish," her performance working against the movie, serving only as a cumbersome, opaque obstacle.
  29. The Three Burials of Melquiades Estrada
    Jones' film actually takes you somewhere you haven't visited in a million other movies. It has a wonderful sense of place, and space, and carries the bite and tang of a good short story.
  30. The Producers
    The Producers on screen, as a musical, does not work. It is not very funny. It doesn't look right. It's depressing.
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