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. Children of Heaven
    Though Majidi draws from familiar Iranian sources, he's made something unique and moving: a sweet tale with a stirring finish.
  2. At First Sight
    More of a physical achievement in moviemaking than a piece of storytelling, but I do recommend it on that basis. [15 January 1999, Friday, p.A]
    • Chicago Tribune
  3. Virus
    Some movies are a joy. Some are a chore. And some are sheer torture. A good example of the latter is Virus. [17 January 1999, Metro Chicago, p.8]
    • Chicago Tribune
  4. Varsity Blues
    If you are willing to overlook the occasional missed block, clumsy tackle or dropped pass, there is more than enough in Varsity Blues to keep you engrossed.
  5. The Thin Red Line
    One of the most curious and perversely brilliant films ever made in the American studio system. It's a shining example of qualities we don't normally see in our big theatrical pictures: vast ambition, huge resources and technical genius mated to a unique and compelling vision of life.
  6. Affliction
    Violence may provide entertainment value in more crass or commercially minded projects, but in the unflinching world of Affliction, it leads only to the ruination of your soul. [5 February 1999, Friday, p.D]
    • Chicago Tribune
  7. Hilary and Jackie
    Gripping in purely cinematic terms as an imaginatively told tale of sibling rivalry and the pressures of great expectations.
    • 61 Metascore
    • 50 Critic Score
    The Faculty
    All the young actors, especially Joshua Hartnett as the misunderstood drug dealer, deliver fine performances in their diverse group, which forms a kind of horror film equivalent of "The Breakfast Club." [25 Dec 1998]
    • Chicago Tribune
  9. A Civil Action
    This is Hollywood expertise and Hollywood civic idealism at high levels.
  10. Stepmom
    Too loud, bright and shallow for its subject: a movie that pushes too many obvious buttons to build naturally to the big, heartbreaking climax it obviously wants.
  11. Mighty Joe Young
    Mighty Joe Young is a mighty big movie about a mighty big gorilla. And a lot of it is mighty bad -- unless you're a devotee of high tech and low camp, elephantine effects and mouse-sized stories, politically correct nostalgia and/or Charlize Theron and Bill Paxton in jungle outfits.
  12. Down in the Delta
    Down in the Delta's large heart is certainly in the right place, but it is beating just a bit too slowly. [25 Dec 1998, p.S]
    • Chicago Tribune
  13. The Theory of Flight
    The Theory of Flight is built from the kind of material that either soars or crashes with audiences. And here, it doesn't quite hold together. But if the film, as a whole, never takes flight, the actors do. Watching them bicker and sail up is so delightful, you only wish their vehicle could keep them aloft longer.
  14. The General
    A near-masterpiece, it is one of the most effective and convincing studies of a criminal ever put on screen. [22 Jan 1999, p.A]
    • Chicago Tribune
  15. A Simple Plan
    Generates genuine tension because it's propelled by actual human feeling, which, these days, turns out to be a surprisingly thrilling prospect. [11 Dec 1998]
    • Chicago Tribune
  16. Shakespeare in Love
    Some scholars may scowl, some lowbrows may scoff. But, like wordwise Will, these filmmakers know how to win a crowd -- from the queen down to the groundlings, from the sky above to the stage below. Bravo! [5 December 1998, Friday, p.A]
    • Chicago Tribune
  17. Rushmore
    A true original: a film that stands apart from the crowd, goes its own way and all but dares you not to like it.
  18. Little Voice
    A slightly more light-hearted version of the "Shine" story. [4 December 1998, Friday, p.A]
    • Chicago Tribune
  19. Babe: Pig in the City
    It's refreshing that a family movie dares to be as emotionally charged as this one, but you wish Miller had paused before he piled everything on and said to himself, "That'll do."
  20. Enemy of the State
    To say Enemy of the State is senseless is an understatement. This is a movie where logic is the enemy.
  21. Elizabeth
    The movie -- directed in such a frenziedly self-conscious style you often wonder whether the camera will topple over on his actors.
  22. The Siege
    It's one of those fast, slick, half-smart shows that can't decide whether to pay its debts to action or reality -- and winds up cheating both.
    • 74 Metascore
    • 75 Critic Score
    Gods and Monsters
    An engaging character study full of lyrical images and strong performances. It's an exceedingly well-made film.
    • 36 Metascore
    • 38 Critic Score
    Belly
    Despite its admonitory tone, Belly spends so much time caressing images of material wealth, female exploitation, drugs and murder that one has to worry about its effect on youngsters. But with its uneven storytelling and acting glitches, Belly's dubious moral stance may be the easiest part of the film to stomach. [04 Nov 1998, p.2]
    • Chicago Tribune
  25. American History X
    A shockingly powerful screed against racism that also manages to be so well performed and directed that it is entertaining as well. [30 October 1998, Friday, p.A]
    • Chicago Tribune
  26. Life Is Beautiful
    A deeply moving blend of cold terror and rapturous hilarity. Lovingly crafted by Italy's top comedian and most popular filmmaker, it's that rare comedy that takes on a daring and ambitious subject and proves worthy of it.
    • 71 Metascore
    • 63 Critic Score
    Pleasantville
    More clever than coherent.
  28. The Cruise
    Even if you have no interest in documentaries or the facade that is New York City, The Cruise transcends its artistic boundaries to becomes something strange and unique.
  29. The Last Days
    The Last Days, despite its great subject, is not quite a great non-fiction film. It's too reserved and careful in tone to reach the heights of Alain Resnais' Night and Fog or Claude Lanzmann's Shoah. [12 Feb 1999, p.I]
    • Chicago Tribune
  30. Happiness
    Sharp, funny, sad and daring as it may be, Happiness is missing something. Its points are often too obvious, its shocks too juvenile. It's impressive but not transcendent. [23 Oct 1998]
    • Chicago Tribune
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