Chicago Tribune's Scores

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:
7613 movie reviews
  1. It's an event film, all about flash and spectacle, even though the movie itself is void of any real substance.
  2. Just another self-absorbed teen chronicle, with the added twist of a little time travel and a surprise ending.
  3. The rigidity of most of the rabbis interviewed in the film is balanced by the presence of openly gay Orthodox Rabbi Steve Greenberg, who offers a more liberal, but no less scholarly, interpretation of the Torah.
  4. It's so thoroughly engaging, so beautifully made, strikingly shot and chock-full of humor and humanity, I can't imagine any intelligent audience not falling in love with it - if only they take the leap of faith to see it.
  5. Vibrating with humanity, it's a potent portrait of love, ranging from the purely carnal to the impurely sublime.
  6. It's a good film but an over-obvious one. I wish I'd liked it more.
    • Chicago Tribune
  7. Lacks the energy and urgency of its source material.
    • Chicago Tribune
  8. An outrageously unlikely prison action movie made with lots of eye-catching pizzazz and undeserved expertise.
    • Chicago Tribune
  9. It's just another case of mourning over what might have been.
  10. The film is truly special, truly different -- a wondrous talky roundelay about and for people who love life.
  11. Deftly uses the conventions of the urban buddy/ romance film to create a fast and loose, often humorous, atmosphere.
    • Chicago Tribune
  12. 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.
  13. The picture is written and acted as a lark and a romp.
  14. The characters may be speaking Chinese, but such rousing entertainment needs no translation.
    • Chicago Tribune
  15. Like "Memento," Mulholland Drive is an amnesiac noir in the tradition that goes back to "Spellbound" and "Somewhere in the Night."
  16. Offers something rare for a modern movie: an uncynical depiction of the redemptive power of human relationships.
    • Chicago Tribune
  17. Worth your time and money? Fuhgeddaboutit.
    • Chicago Tribune
  18. It's sensuality with a stinger, and Fat Girl is an adolescent sex drama that takes no prisoners.
  19. A multilayered documentary that explores music and friendship, and in its own quiet way, the battle with fame.
  20. 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.
  21. 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.
  22. 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.
  23. 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.
  24. It's the pre-teen set who will revel in the adolescent angst and anarchic high jinks of Max Keeble.
    • Chicago Tribune
  25. 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
  26. Argentinean filmmaker Lucrecia Martel takes fundamental risks with form and style, and it pays off brilliantly.
  27. 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.
  28. 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.
  29. 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

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