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. Though it's hard not to play it, the expectations game is a dangerous one, especially for sequels. And Roach's original, just like his overexposed star, set us up good.
  2. Depending on your predilection, the movie version of The Phantom of the Opera is about as good - or as bad - as its phenomenally successful stage original.
  3. Not a striking film visually. It's deliberately plain looking, focused on the appalling events with an almost documentary immediacy.
    • 74 Metascore
    • 50 Critic Score
    If this documentary were about a serious painter, it would be judged a travesty not unlike commercials that goose up the couple in "American Gothic" or show the Mona Lisa laughing.
  4. Though "Keys" is not Amelio's best, it has an emotional power almost equal to anything he's done.
  5. Sumptuously exciting, glowing with expertise, seething with life, gorgeously designed and thrillingly articulated.
  6. Only resonates when he (Brooks) strips it all away and focuses on parent and child.
  7. This clunky remake can't rise from the ashes, nor would you want it to.
  8. The imagination, energy, chutzpah and sheer affection shown for Darin by director-writer-star Spacey, who plays the singer, are admirable, kicky. This is a movie, that, like Darin himself, takes a lot of chances and delivers on many of them.
  9. Wrings honest emotion and riveting dramatics from its tale.
  10. Good in many ways, full of talent and intelligence, and marks the debut of a promising young American writer-director, Dan Harris.
  11. Exceptionally clever, hilariously gloomy and bitingly subversive.
  12. Achieves a mellowness and melancholy that recalls the jazzy dissonance of director (and here, composer) Eastwood's best work: "The Outlaw Josey Wales," "Bird," "Unforgiven" and "Mystic River."
  13. Likable as it is, suffers from that modern big-movie vice: overkill.
  14. A comedy that seems to have most everything going for it but the ability to make us laugh.
  15. A work both rigorously stylized and deeply personal. Devotees of Kitano and Japanese cinema will admire Dolls.
  16. It's a great film that, sadly, may be ignored by all but the most dedicated, knowledgable filmgoers.
  17. It's a stunningly creepy specimen of Asian horror.
  18. This film carries us so touchingly into their world, it would take a heart of stone, finally, to ignore them.
  19. Thankfully, Reynolds (bearded, looking a bit like Jason Lee) adds some scrappiness and humor to a series that might otherwise have collapsed under self-parody.
  20. Few directors are more adept at playing with all this anguish and exhilaration than Mike Nichols.
  21. It's as thrilling and lushly beautiful a movie as has been released all year, matched only by Zhang's epic "Hero." And I think this film is the more powerful.
  22. One of the best films ever about that game, one of the most exciting, instructive and sheerly entertaining of all chess films.
  23. Macabre, oddly gripping.
  24. The beautifully shot but dramatically strained I Am David falls prey to the defect of all poor road movies: In gluing together unbelievable but convenient episodes with sugary sentimentality, it loses most of its credibility.
  25. It's a magical film which manages to transport and rivet us in the same highly-imaginitive, breezily playful way "Amelie" did.
  26. A compelling piece of press criticism as it probes the media as terror's conduit of choice, spreading message and validating violence in the 1970s and today.
  27. A talented craftsman of dark raillery, Day and his fixation on Hollywood melodrama are indulged to delicious effect in his sophomore effort.
  28. Vast, riveting, madly audacious movie biography.
  29. Phony, disingenuous family entertainment, suffocated by its green bean casserole approach to Middle America, spineless cardboard characters and paper-thin plot "twists."

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