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. 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.
  2. 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.
  3. C'mon C'mon
    This is a droll and extremely well-acted tale of a family in crisis, and in progress.
  4. 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.
  5. 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.
  6. 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.
  7. 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.
  8. Finch
    Though not originally produced with streaming in mind, Finch absolutely feels like it was designed by algorithm.
  9. 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.
  10. 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.
  11. The Harder They Fall
    You could also say The Harder They Fall consists on a diet of flourishes.
  12. The French Dispatch
    In his fastidious, exacting, extraordinarily blinkered creation, writer-director Anderson this time has driven straight into a cul-de-sac, stranding every sort of good and great actor in the cinematic equivalent of a design meeting.
  13. Found
    It’s a lot for everyone to process and I was was drawn in by the conflicting feelings colliding at all once: Mutual grief and joy, but also confusion.
  14. Dune: Part One
    If you’re at all interested in what a reliably compelling, stubbornly solemn commercial filmmaker can do with money, imagination and no little nerve, Dune is epic enough — even if there’s a wee hole in the middle, where a more compelling protagonist belongs.
  15. Halloween Kills
    Green has made so many interesting movies, from “George Washington” to “Snow Angels” to the best bits in “Pineapple Express” and more recent genre exercises. Halloween Kills settles for the reductive, distressingly anonymous hackwork of its title.
  16. Lamb
    In what is essentially a three-human story (they’re outnumbered by their animal co-stars), Rapace brings the heart and soul to every close-up.
  17. No Time to Die
    As bittersweet farewells go, this one’s quite good.
  18. Diana: The Musical
    It’s tolerable, I suppose, if you don’t have to listen to it. Unfortunately it’s a musical so you have to listen to it.
  19. The Many Saints of Newark
    As with the series, the best scenes here remain slightly off-plot yet wholly on-target and devoted to the characters as well as matters of corrupted, corrosive character.
  20. Britney Vs. Spears
    Carr made her long-gestating Netflix documentary with journalist Jenny Eliscu and the pair never comes across as anything less than serious-minded. But their efforts feel limp and plodding by comparison, and sometimes confusing.
  21. The Starling
    McCarthy’s open-faced performance is reason enough to give it your time, even if nearly everything surrounding her feels unworthy.
  22. Dear Evan Hansen
    Mainly, the movie we have here reminds us that what works on a stage, within the non-realistic world and performance momentum of stage musicals, lessens a lot of story problems that movies tend to heighten.
  23. Cry Macho
    Cry Macho may be fond and foolish in equal measure, but it has a few grace notes to remember, in addition to a fine gallery of images of Eastwood in silhouette, at dusk, against a big sky, alone with his thoughts.
  24. Queenpins
    As a sort-of-true-crime comedy, spinning a yarn of middle-class larceny and extreme, deeply unlawful couponing, it’s likely to offend no one but the most grimly law-abiding consumers among us. But like the people it’s about, you want more.
  25. The Card Counter
    As the title character — a professional gambler with a lot behind him, and not much impulse to dredge it up — Oscar Isaac makes for a magnetic sphinx indeed. His is not the only good performance. But it’s the crucial one.
  26. Cinderella
    With all the songs, gowns and corny jokes, kids under 10 will likely love it, and frankly, that’s who this is for, not the millennials or Gen Z kids who grew up with Brandy or Hillary Duff.
  27. Shang-Chi and the Legend of the Ten Rings
    Director/co-writer Destin Daniel Cretton’s film accomplishes something akin to what “Black Panther” accomplished in better times. It broadens the scope of superhero representation and storytelling. It offers an adversary, and a father figure, of teasing ambiguity and complicated rooting interests.
  28. Bob Ross: Happy Accidents, Betrayal & Greed
    The documentary is strongest when it simply lets Steve — who resembles his father, minus the poof of hair — sift through his memories. There’s a lot of regret and melancholy there. Admiration too. And legitimate anger at how the Ross name itself is no longer his own. It’s a messy and complicated story.
  29. Candyman
    Many will find DaCosta’s take on the story didactic, I suppose, or low on genre payoffs. I’m eager to see it a second time, flaws and all. It’s alive and awake to where we are now.
  30. The Night House
    In The Night House, narratively faulty but full of insinuating shivers, Hall once again expands her range. She intensifies what could’ve been just another woman with a flashlight in a haunted house movie, peering into the beyond.
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