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. Moonfall
    First hour: pretty lousy and not much fun. Second hour: pretty lousy but more fun, and the movie has the benefit of getting stranger and stranger as it gyrates.
  2. Compartment No. 6
    It’s tough-minded and tender-hearted in equal measure. It’s also slyly insightful on the theme of chance elements in solo travel, and unexpected, emotionally tricky connections along the way.
  3. The Velvet Queen
    This is one of those poetical nonfiction eyefuls determined to make its primary subjects seem like they were alone with their thoughts, their camera equipment and their expectant yearning.
  4. France
    Even when it’s outlining its own ideas more through rhetoric than character, France keeps us on our toes regarding what’s around the corner. Seydoux’s the chief but hardly the only reason to find out.
  5. A Hero
    It boasts the filmmaker’s usual high level of unassuming craft; a superb cast; and a couple of limitations, though not flaws, worth noting.
  6. Scream
    I wish this movie offered a little less running commentary and a little more running — anything, really, to get itself off the treadmill of self-critique and self-congratulation and actually going somewhere new.
  7. Sansho the Bailiff
    The star, again, is Mizoguchi's favorite actress, Kinuyo Tanaka, and the style is magisterial, exquisitely controlled--with Mizoguchi moving the story inexorably to an almost sublimely redemptive climax. [24 Mar 2006, p.C7]
    • Chicago Tribune
      • Posted Jan 11, 2022
  8. The 355
    Now and then The 355 sticks a landing.
  9. The Lost Daughter
    Gyllenhaal’s work with her actors is quietly spectacular, and she takes the best of Ferrante’s fearlessness while letting Colman and Buckley unfold the character’s secrets through action and reaction.
  10. The Tragedy of Macbeth
    Stripping “Macbeth” for parts, keeping the focus on the main narrative lines of political assassination and what Macbeth himself refers to as “supernatural soliciting,” Coen turns out to be ideally suited to a straight-ahead, let’s-get-on-with-it rendition.
  11. Red Rocket
    The first hour is terrific; the second one, disappointingly, grows weaker and more conventional.
  12. Nightmare Alley
    The film operates on a peculiar, somewhat languid rhythm, and there are times when the story’s needs take a back seat to the visual detail. But “Nightmare Alley” has nerve and relentless, fantastic style.
  13. Spider-Man: No Way Home
    Holland provides the glue and the webbing for the latest Spidey outing Spider-Man: No Way Home. He’s physically nimble — he’s soon to play Fred Astaire in a biopic — quick-witted with his darting comic timing and an all-around easygoing presence. When the movie treats the mayhem and brutality for real, he’s there with the right degree of anguish.
  14. Being the Ricardos
    Sorkin’s approach is to focus on the things that are happening rather than to inquire as to the contours of Lucy or Desi’s internal monologues, and so they remain unknowable, moving through a biopic that offers little more than an exercise in re-enactment.
  15. Drive My Car
    For a century and more, film directors have explored crosscurrents between art and life, and how one informs the other. Hamaguchi makes that exploration a fully humanized one. His actors, one and all, are so good, you’re simply grateful for their screen company.
  16. West Side Story
    Whatever this new adaptation’s popular reception, it’s five times the movie the ‘61 movie was. Spielberg has never made a musical before, but this one looks and feels like the work of an Old Hollywood master of the form — someone who knows when, where and why to move a camera capturing bodies in rhythmic motion.
  17. Licorice Pizza
    It’s a beautiful film to soak up as a visual and musical memory of a place that remains, and a time long gone.
  18. Chess of the Wind (1976)
    It’s somewhat challenging and methodical in its pacing, but if you respond to it — as I did — this ghost from Iran’s 1970s New Wave is a reason to give thanks.
  19. Single All the Way
    Single All the Way cannot sustain itself on Urie’s considerable charms alone, but he’s been so underused since the days of “Ugly Betty” that it’s thrilling to see him in a starring role. If only it was a better one.
  20. Bad Luck Banging or Loony Porn
    Amid so many earnest, forgettable COVID-era and COVID-acknowledging movies around the world, here’s one that truly goes for it.
  21. The Humans
    This is not a raucous family takedown; nor is Karam’s tale a matter of artificial family conflicts, tidily resolved. The Humans gets a lot done in a short amount of time, in a single, two-level setting, plus a few fraught intimations of what’s down the hall or around the corner.
  22. C'mon C'mon
    This is a droll and extremely well-acted tale of a family in crisis, and in progress.
  23. House of Gucci
    We often take a talent like Scott’s for granted. He’s truly gifted in the realm of period pictures, all kinds; next up is a Napoleon epic starring Joaquin Phoenix. In House of Gucci, he sees the material as a cautionary, globe-trotting tale of greed, no less, no more. The movie does the job without diving too far beneath any of its lovely surfaces.
  24. King Richard
    Even the verifiably true material in King Richard has a way of coming off like a Hollywood movie in the most “Hollywood movie” sense of those words.
  25. The Power of the Dog
    For Campion, the personifications of Western heroism and toughness are practically indistinguishable from their own nightmarish distortions. “The Power of the Dog” lays out this theme pretty bluntly, in a story that can feel a mite thin. It’s also well worth your time, because it imagines the time, place and people it’s about so intriguingly.
  26. Passing
    A lesser director, working in a clunky-realism vein with less skilled designers and especially performers, might’ve turned Passing into a conventional something or other. In novel form, and in Hall’s beautiful adaptation, it is anything but conventional.
  27. Finch
    Though not originally produced with streaming in mind, Finch absolutely feels like it was designed by algorithm.
  28. Spencer
    Die-hard devotees of “The Crown” likely won’t like the taste of ashes swirling around in all that’s served here. But there’s more than one way to dramatize the public/private schisms of celebrity, and this way feels right for this director, this actress and this movie.
  29. Eternals
    This movie is more risk-prone than the majority of Marvel titles. Yet it frustrates, even beyond a screenplay full of self-competing interests. And as far as MCU fatigue goes — well, at this point, it goes pretty far.
  30. The Harder They Fall
    You could also say The Harder They Fall consists on a diet of flourishes.
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