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 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.
  2. 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.
  3. 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.
  4. 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.
  5. 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.
  6. No Time to Die
    As bittersweet farewells go, this one’s quite good.
  7. 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.
  8. 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.
  9. 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.
  10. The Starling
    McCarthy’s open-faced performance is reason enough to give it your time, even if nearly everything surrounding her feels unworthy.
  11. 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.
  12. 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.
  13. 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.
  14. 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.
  15. 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.
  16. 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.
  17. 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.
  18. 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.
  19. 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.
  20. Reminiscence
    This one is strictly a welding job, grabbing parts of “Blade Runner,” a bolt and a nut or two from “Vertigo” (though not as much as “Phoenix” did) and notions of commercially desired fantasies of pasts real and imagined, straight from “Westworld.”
  21. CODA
    What’s missing are unexpected beats, some rougher edges, a few plot-undependent moments that bring us closer to the way these characters live, breathe and feel.
  22. Respect
    Respect runs into trouble when its own respect toward Aretha Franklin, the woman who gave us the voice of a century, settles for garden-variety adoration. But longtime stage director Liesl Tommy’s debut feature, working from a screenplay by dramatist and screenwriter Tracey Scott Wilson, offers plenty of compensations amid its biopic conventions.
  23. Annette
    Yes, the Frenchman Carax’s first film in English isn’t life-affirming so much as it is art-affirming. But it’s a weirdly compelling experience in blunt, arguably misogynist, harshly beautiful cinema.
  24. Nine Days
    The movie proceeds in quiet, reflective tones, subtly energized by a fully realized visual environment and a clever variety of editing rhythms. Nine Days transcends the potential limitation and occasional strain of its premise.
  25. The Suicide Squad
    This one’s good! Also supergory, merrily heartless in its body count and its methods of slaughter. And funny.
  26. Jungle Cruise
    Blunt’s derring-do has its stray moments, and her comic wiles are most welcome. But this is blockbustering from a talented director whose talent has been pounded flat by the dictates of a script in the quality range of Disney’s “Lone Ranger.”
  27. Stillwater
    Stillwater feels like a movie filmed in a slightly blurry state of mind, then reshaped in the editing stage into a whole new blur. You don’t know where it’s going, and that’s a plus. Yet director and co-writer Tom McCarthy’s drama is as uncertain as his good movies, “Spotlight” highest among them, are quietly confident in going about their business.
  28. The Green Knight
    Lowery creates a spiritual cousin to Shakespeare’s Prince Hal, torn between taverns and common folk and his highborn destiny. There’s a lot here, either on the surface or bubbling beneath it. In its Christianity vs. paganism square-off, The Green Knight lands on a note (and an event) very different from the poem’s.
  29. Joe Bell
    There’s a good movie in the story of Joe Bell and Jadin Bell. The good one struggles to emerge from the good try we have here.
  30. Old
    Is the central hook in “Old” enough? For many, I suspect, the answer will be not quite. The film, well-crafted when the characters quit reiterating the previous what’s-going-on-here? reiteration, could use a little more nerve and a little less plot machinery, designed to provide audiences with a happier ending than the graphic novel’s, and a lot of scientific folderol.
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