Chicago Tribune's Scores

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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:
  1. Positive: 5,116 out of 7613
  2. Mixed: 1,475 out of 7613
  3. Negative: 1,022 out of 7613
7613 movie reviews
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  1. 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.
  2. The Matador
    Works remarkably well as a stylish and unconventional buddy flick--cruising along with wit and wisdom.
  3. 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."
  4. 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.
  5. 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.
  6. 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."
  7. 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.
  8. 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.
  9. 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.
  10. 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.
  11. 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.
  12. Hoodwinked!
    Hoodwinked treats "Red Riding Hood" as a detective story we've never really understood until now, with nuttier motivations, more complex characters and a screwier climax.
  13. King Kong
    The new Kong is just different enough to be terrific screen company. His relationship with his leading lady, played with heart and panache by Naomi Watts, doesn't feel like an old story retold. It feels like a brand new story.
  14. Memoirs of a Geisha
    Colleen Atwood's costumes are the best a film adaptation of a popular book can buy. They rustle like nobody's business. The film itself is equal parts silk and polyester.
  15. Brokeback Mountain
    A good and eloquent Wyoming-set love story with a great performance at its heart.
  16. Mrs Henderson Presents
    A dear film, sentimental and fond, full of beautifully acted British resolve.
  17. The Chronicles of Narnia: The Lion, the Witch and the Wardrobe
    The problem with The Lion, the Witch and the Wardrobe is this: The closer the many-hands screenplay gets to the Christ-like sufferings and resurrection of Lord Aslan, the lion (voiced by Liam Neeson), the more conflicted the filmmakers' efforts become.
  18. The World's Fastest Indian
    Fast, funny, big-hearted.
  19. Transamerica
    At its best, Transamerica made me laugh and feel for Bree. At its worst, it made me cringe at the potential creepiness of its central relationship.
    • 51 Metascore
    • 75 Critic Score
    First Descent
    Visually, this is one of the most arresting sports documentaries in years, and it doesn't skimp on the visceral thrills, either.
  21. The Far Side of the Moon
    Like many stage-to-screen projects "Moon" loses something in the journey from the planet Theater to the planet High-Def Video. Yet Lepage is such an interesting camera subject, you stick with this dreamy rumination even when the going gets arch.
    • 69 Metascore
    • 50 Critic Score
    Be Here to Love Me: A Film About Townes Van Zandt
    Proves a less-than-satisfying examination of the country singer's art, career and demons.
  23. Æon Flux
    By forcing definition on Flux, the filmmakers rob her of any allure. What do they offer instead? Clumsy exposition, bland PG-13 gunfights and subpar computer animation.
  24. The Kid & I
    Though The Kid & I falters as both a comedy and an After School Special, it works as a rather touching episode of "This is Your Life," with a parade of cameos from Arnold's career that'll coax a sniffle or two from his family.
  25. The Boys of Baraka
    There are many tragedies and accomplishments here, without the engineered uplift afflicting any number of lesser documentaries.
  26. Mrs Palfrey at The Claremont
    The cast manages some sweet moments, and Plowright lends a touch of grace and wit to each new indignity or kindness. Yet the whole thing feels programmed; the movie's sense of humor lacks understatement.
  27. The Ice Harvest
    The Ice Harvest is not "Bad Santa" redux. It has comic moments - primarily from Oliver Platt, in fine drunken stupor - but Ramis' tiptoe into film noir isn't really a comedy.
  28. Just Friends
    But alas, even with young talent, director Roger Kumble and writer Adam Davis rely way too heavily (no pun intended) on the fat-suit joke and titular impasse.
  29. Rent
    It's a pretty good version of a pretty great stage phenomenon.
  30. 39 Pounds of Love
    Like the cerebral palsy-stricken Irish artist Christy Brown of "My Left Foot," Daniel Day-Lewis' Oscar-winning role, Ami is forced to fight such overwhelming odds to express himself that his very limitations become an aid to his vision.
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