Chicago Tribune's Scores

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:
7599 movie reviews
  1. This film would be an excellent companion piece to Wim Wenders' "Wings of Desire," which deals with angels looking down on this scarred city. Berlin Babylon isn't nearly as lush, but in its own curious way, it's every bit as spiritual.
  2. The picture is written and acted as a lark and a romp.
  3. The characters may be speaking Chinese, but such rousing entertainment needs no translation.
    • Chicago Tribune
  4. Like "Memento," Mulholland Drive is an amnesiac noir in the tradition that goes back to "Spellbound" and "Somewhere in the Night."
  5. Offers something rare for a modern movie: an uncynical depiction of the redemptive power of human relationships.
    • Chicago Tribune
  6. Worth your time and money? Fuhgeddaboutit.
    • Chicago Tribune
  7. It's sensuality with a stinger, and Fat Girl is an adolescent sex drama that takes no prisoners.
  8. A multilayered documentary that explores music and friendship, and in its own quiet way, the battle with fame.
  9. A gentle film, not very controversial despite its gay content, Chop Sue is valuable as a record of beauty and obsession, much less interesting as a human document.
  10. There's good pulp and bad pulp, and for most of its duration, Joy Ride is quality stuff.
    • Chicago Tribune
    • 60 Metascore
    • 75 Critic Score
    Delightful coming-of-age film that becomes universal by way of its subject matter.
  11. This is a movie that rocks and socks you, and has a performance by Washington that's ruthless and scary. But in the end, it leaves you unmarked.
  12. There is a thrill in seeing them wooing and pursuing each other through the streets of New York, a city that here again, for a while, becomes a movie isle of joy.
  13. It's the pre-teen set who will revel in the adolescent angst and anarchic high jinks of Max Keeble.
    • Chicago Tribune
  14. A pair of decent performances does not a movie make, however, as Mazur and Giovinazzo are surrounded by fourth-tier actors (Ventresca and Steven Bauer) and spotty directing of a mediocre script.
    • Chicago Tribune
  15. Argentinean filmmaker Lucrecia Martel takes fundamental risks with form and style, and it pays off brilliantly.
  16. It may be the most serene and optimistic film Rivette has made in France. Yet even the art-house audience may undervalue it, miss the beauty, style and wit.
  17. Almost nothing new to offer -- despite its good actors, flashy visuals and well-textured New York gloss and grit. But there are teasing hints of another, better movie buried inside somewhere.
  18. The main problem is the director-star's choice to play so far beneath his intelligence for so long. Stiller lacks the physical gifts and projected sweetness of, say, Jim Carrey in "Dumb and Dumber," and unlike Peter Sellers in the "Pink Panther" movies, he can't keep a straight face.
    • Chicago Tribune
  19. Sometimes thrilling, sometimes suffocatingly tasteful adaptation of Stephen King's 1999 novel.
    • Chicago Tribune
  20. It's rare to find an American movie that works so well structurally from beginning to end, including a second act that withstands the plethora of fast-moving action, and a climax that is satisfying and well earned.
  21. Diamond Men's potential as a diamond in the rough turn out to be more "rough" than "diamond."
  22. If Shackleton's adventure was to be the swan song for those 19th century explorers whose exploits stirred the imagination of young men around the globe, it was a magnificent way to say farewell.
  23. The acting -- especially by Borrows, Ian Hart and Hackett -- is strong and transparent, utterly convincing. The whole movie has a seamless flow and an utterly convincing sense of time and place.
  24. A superbly crafted piece of humanistic cinema.
    • Chicago Tribune
  25. Something that gets your motor racing briefly, but which you've seen all too often.
  26. The film is not exactly a documentary, and not quite a period horror movie either. But it has elements of both. At its best, it's hypnotic and provocative.
  27. A funny movie, but like "Josh" himself, it's too self-absorbed, and maybe too nice, for its own good.
  28. The landscapes and backgrounds of the Min Valley and the Nanking Road, not to mention the cuddly pandas themselves, are the big-ticket items here.
  29. Remains watchable when it's not hitting you like a baseball bat with poignancy. But by the time you've endured all of the shamelessly manipulative plot turns and heart-yanking speeches that close out the movie, all you can do is cry foul.

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