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. The Texas Chainsaw Massacre
    Has no pretensions about sneaking up on you -- it simply charges, motor humming and blades flying, carving the spot where masochism and entertainment meet.
  2. Returner
    Serves as both an homage to and shameless thief of its influences. The result: a sprawling, deformed, undisciplined piece of cinema that hobbles along on weak, genre-splicing tactics.
    • 49 Metascore
    • 75 Critic Score
    Good Boy!
    A tearily adorable canine valentine.
  4. Intolerable Cruelty
    Elegant, cheerfully cynical fun of the kind we used to get regularly from Billy Wilder, Howard Hawks and other masters of the classic Hollywood screwball comedy -- all those '30s-'40s movies about rich people sloshed, or acting crazy and running romantically amok.
  5. Kill Bill: Vol. 1
    There's no question that Quentin Tarantino's Kill Bill, Vol. 1 is a virtuoso piece of filmmaking. What's questionable is whether it's more than that.
  6. The Flower of Evil
    Stylish, ingenious and gleaming with charm, wit and malice, it's another expert blend of domestic drama and crime thriller, a vivisection of the bourgeoisie.
    • 52 Metascore
    • 63 Critic Score
    Dopamine
    The moody, distinctively San Franciscan Dopamine has other charming little touches -- its humor, its characters, its city life -- that make you want the film to succeed. It doesn't entirely; it's more likable than it is good.
  8. Porn Theater
    Not for the sexually conservative. Not even for the sexually moderate liberal. It is, however, for the right crowd in the right mood, a very fine film.
  9. House of the Dead
    Unimaginatively recycles all the teens-in-the-woods gorefest conventions.
  10. Girls Will Be Girls
    As an intentionally campy film, Girls Will Be Girls dips a cinematic toe into shark-infested waters. Not only must it operate on several levels-making us care for deeply flawed characters and laugh at their bitter lashings-it also has to carry a cohesive story arc. On this count, Girls Will Be Girls fizzles a bit.
  11. Mystic River
    Mystic River is classic Eastwood, classic noir. If there is still some doubt about whether this one-time macho star is actually a world-class moviemaker, Mystic River should end the argument for good. One of the best American movies of the year, crisply well-crafted and beautifully acted.
  12. Bus 174
    A unique portrait of modern crime and punishment, gives us terror without filters, a tragic event captured in all its initial immediacy and anguished aftermath.
  13. The Event
    Just sit, feel a little blue and watch Parker Posey wander through New York in an ugly conservative suit. In "Blade," at least she'll get a snazzier wardrobe.
  14. Out of Time
    It's a twisty, hell-for-leather crime thriller, and director Carl Franklin gives it all the slick, modern trimmings.
  15. School of Rock
    The movie is the cinematic equivalent of a near-perfect three-minute pop song. It makes you laugh, smile and tap your toes over a brisk 88 minutes, and when it's finished, you're ready to hit repeat.
  16. The Station Agent
    For most of the film, Fin is only as odd as Joe and Olivia -- three eccentrics rendered positively normal in a friendship built on the crap we all face every day.
  17. Wonderland
    Fast and frenetic and so unvarnished that it can make you feel unclean watching it. The film rubs your face in glamour and filth. But in the midst of the blood and hysteria, Kilmer plays Holmes with the dirty-angelic looks and wheedling charm of a seedy golden boy on the brink of doom.
  18. Rare Birds
    Rendered bland and frustrating by its endless attempts to make the odd odder.
    • 57 Metascore
    • 50 Critic Score
    Bubba Ho-tep
    Coscarelli, the man behind the long-running "Phantasm" splatter series, can't quite conjure a complete movie out the concept and stretches the material until its humorous conceits repeat ad nauseum.
  20. Duplex
    It's stylish, it's sort of smart, it's full of misplaced talent. But it's not funny enough, and maybe, in a way, not dark enough either.
  21. The Rundown
    Has what we usually want to see in movies like this: bravura action, tongue-in-cheek humor, but most of all attitude.
  22. Under the Tuscan Sun
    Most definitely a chick flick.
    • 47 Metascore
    • 63 Critic Score
    Luther
    Aside from a couple of unintelligible conversations with himself, there's barely any God here. The film would rather just be inclusive. Luther might have wanted it that way, but as moviegoers, it's hard not to want more.
    • 57 Metascore
    • 50 Critic Score
    My Life Without Me
    The inescapable problem with this film is that everything is precisely as you expect it. And so, cheated out of anything interesting, you just want "My Life Without Me" to be a movie without you.
  25. Prey for Rock & Roll
    It's a raw and raucous rock story that, for once, gets the big picture and the small details right.
  26. Yossi & Jagger
    Most of the film's action takes place on the base, where Fox smartly concentrates on how this relationship -- tormented at times, lighthearted at others -- exists in Israel's military bubble.
  27. Demonlover
    Unlike almost every other sexy modern thriller (especially most recent studio blockbusters), this one gives you a lot to think about.
  28. Anything Else
    Has some of the wit, sass and sexual candor of an "Annie Hall." But it covers the same kind of territory with more bite and bile.
  29. Secondhand Lions
    With such a bang-up cast, this setup could at least elicit some tears, but in its 107 minutes, nary a one welled up in my eyes.
  30. Casa de los babys
    Sayles accomplishes another of his coups here. Eschewing all sentiment, avoiding all pathos, keeping his film and most of the women hard as nails, he manages to tell a compelling story.
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