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. For anyone who likes classic, offbeat American moviemaking, in the rural-thriller genre from "Moonrise" to "Macon County Jail," Undertow is one to check. Seething with violence, bleeding with lyricism, it's a poem from the junk heap, a cry from the swamp.
  2. A master of atmosphere, Japanese director Takashi Shimizu leads his audience along on a celluloid leash to his pitch-black attic of horror, inviting each hair on the back of your neck to stand up.
  3. The "comedy" part of Sex is Comedy comes intentionally from cast-crew interaction.
  4. The movie tries hard to duplicate the original's mood and story, but, like Gere or Lopez, is too much of a visual knockout to rope us in.
  5. Bening shines, and the film shines too.
  6. Ultimately, p.s. confirms Kidd's talent without expanding it or achieving the comic/dramatic heights of "Roger Dodger."
  7. A beautiful picture with a great heart, a classic-to-be with a common touch.
  8. Fairly well done but deadly dull futuristic thriller.
  9. Team America's strengths are in its musical numbers, especially Kim Jong Il's mournful "I'm So Ronery" (translation: "Lonely"), a heartfelt peek into the dictator's soul.
  10. Shackles its characters with stale dialogue straight out of decades-old Sgt. Rock comic books.
  11. Pictorially sumptuous and sexually provocative.
  12. Among its many excellences, Vera Drake functions superbly as a pure thriller; the last half is reminiscent in structure and detail of Hitchcock's "The Wrong Man."
  13. There isn't a bad performance here, but besides Thornton, Luke stands out.
  14. A well-intentioned, ill-conceived blip of a movie that just happens to star two of the most esteemed actors of our time--Michael Caine and Christopher Walken.
  15. A rich, shining valentine to the British theater and the eternal joys of Shakespeare,
  16. Worst of all, though, is the movie's moral maneuvering.
  17. Watching Jonathan Caouette's amazing autobiographical documentary Tarnation is like descending into a pop-music, underground-movie hell and heaven, the shattered and shattering landscape of a living body and mind.
  18. Riddled with comic potholes.
  19. Instead of cashing in on barely healed wounds, Ladder 49 could have taken a different cue from pornography and gone the way of "Boogie Nights," a fascinating, difficult and honest glimpse into another storied profession.
  20. Boasts a really spectacular cast to voice those reasonably funny jokes.
  21. As one might imagine, with such a neato premise and lofty goal, the plot's a little messy. So points docked for execution.
  22. Anton, because after watching your tantrums, abuse and addiction in DIG! I went straight to the record store to buy your music. And that's something.
  23. It's not a hasty, knocked-together promo job--though it is clearly pro-Kerry.
    • 27 Metascore
    • 25 Critic Score
    Therese's story would work better as a marionette show than on the big screen. The camera is best at picking up subtleties, and there are simply none here.
  24. Jakes' characters are points to be made, flesh and blood cautionary tales that don't particularly feel human. His dialogue, even in the mouths of Michelle and her troubled mother, sounds as if it comes straight from the pulpit.
  25. It's hard to breathe in Andrew Lau and Alan Mak's Infernal Affairs, a relentlessly taut Hong Kong cop thriller that, unlike many of its cinematic peers, doesn't burn off tension in choreographed action sequences.
  26. It's a glossy, well-mounted, slickly done but almost stuporously predictable affair, both formula-bound and utterly illogical.
  27. The stylish and imaginative imagery in director Joseph Ruben's film, not to mention the parapsychological twists and mysteries, evoke the work of director M. Night Shyamalan.
  28. Salles' movie isn't fiery or didactic. It doesn't rage or storm. Salles romanticizes the youthful Ernesto.
  29. Flockhart, as an actress desperate to show the world her talent but lethally unsure if she has any, embodies the obsessively driven personality it must take to make it, or to try to make it, in pictures. She's the personification of what The Last Shot could have been.

Top Trailers