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. The Bad and the Beautiful
    One of the best-liked backstage dramas, with Douglas shining as egotistical producer Jonathan Shields (said to be based on David O. Selznick) who ruthlessly sheds friends, lovers and colleagues on his way to the top, only to seek them after his fall. [25 Apr 2003, p.C1]
    • Chicago Tribune
    • 54 Metascore
    • 88 Critic Score
    The Star
    Stuart Heisler's fascinating (but not biographical) backstage Hollywood drama about a fading Oscar-winning actress, co-starring Sterling Hayden and Natalie Wood. [19 Jul 2005, p.C3]
    • Chicago Tribune
  3. The Snows of Kilimanjaro
    Shallow, colorful adaptation of one of Hemingway's best short stories. [08 May 1998, p.M]
    • Chicago Tribune
  4. The Quiet Man
    The most purely enjoyable of all the great Ford films. [18 Sep 1998, p.J]
    • Chicago Tribune
  5. Don't Bother to Knock
    Playing a deranged, possibly homicidal babysitter going bonkers in a hotel, Monroe steals the show in this efficient, vaguely creepy little thriller--despite the presence of both Richard Widmark (as her airline pilot target) and Anne Bancroft (as the hotel's pert lounge singer). [09 Dec 2005, p.C6]
    • Chicago Tribune
  6. The Tales of Hoffmann
    The movie's lovers and its haters can agree on one thing. The third section, set in Greece and dealing with another, less interesting magic spell cast on Hoffmann's soprano sweetie (Ann Ayars), ranks as the weakest. [10 Apr 2015, p.C4]
    • Chicago Tribune
  7. The Greatest Show on Earth
    Prototypical DeMille extravaganza about a circus tour beset with colorful crises, romance, train wrecks and spectacular melodrama from beginning to end. [21 Aug 1998, p.H]
    • Chicago Tribune
  8. Quo Vadis
    One of the most lavish and entertaining of all Hollywood religious epics. [15 May 1998, p.M]
    • Chicago Tribune
  9. On Dangerous Ground
    Great direction, script (A.I. Bezzerides), score (Bernard Herrmann). [25 Aug 2006, p.C7]
    • Chicago Tribune
  10. I'll See You in My Dreams
    Songwriter bio on Gus Kahn (Danny Thomas); Day is his long-suffering mainstay. [13 Apr 2007, p.C5]
    • Chicago Tribune
    • 83 Metascore
    • 100 Critic Score
    An American in Paris
    One of the supreme romantic musicals. To see Kelly hoofing atop Oscar Levant's piano, suavely partnering Leslie Caron along the banks of the River Seine and exulting in her love in the final sequence is to behold the film musical near its apex. [2 Oct 1992, p.L]
    • Chicago Tribune
  12. Detective Story
    The first-rate cast, Lee Garmes' camerawork and the tense, excellent script (by Phil Yordan and, uncredited, Dashiell Hammett), all help build toward an unsurprising but memorable climax. [16 Oct 1996, p.2]
    • Chicago Tribune
  13. The Day the Earth Stood Still
    The well-loved science fiction tale of the brainy extraterrestrial Klaatu (Michael Rennie), who comes to Earth to warn the planet against its self-destructive nuclear pursuits; he winds up observing humanity close up. [06 Oct 2006, p.C6]
    • Chicago Tribune
  14. A Streetcar Named Desire
    It's full of cinematic invention, rich verbal and visual poetry, packed with raw life and nonpareil acting. [Dirctor's Cut]
    • Chicago Tribune
  15. A Place in the Sun
    They're a witheringly beautiful couple; ex-cinematographer Stevens lavishes all his gifts of composition, lighting and texture on their closeups. [05 Apr 2007, p.C10]
    • Chicago Tribune
  16. On Moonlight Bay
    Weird attempt to turn Booth Tarkington's Penrod stories into a mini-Meet Me in St. Louis, co-starring Gordon MacRae and Leon Ames. [13 Apr 2007, p.C5]
    • Chicago Tribune
  17. Harvey
    Jimmy Stewart's signature role as amiably soused Elwood P. Dowd, who navigates his way through a contentious and mercenary world with the aid of his best friend, the invisible 6-foot-3-inch rabbit Harvey. [27 Jun 2008, p.C2]
    • Chicago Tribune
  18. Sunset Boulevard
    Sunset Blvd. remains one of the best, truest, funniest, saddest and scariest of all movies about Hollywood. [09 Jun 2006, p.C8]
    • Chicago Tribune
    • 83 Metascore
    • 100 Critic Score
    Winchester '73
    The first of Mann's great Jimmy Stewart cycle -- and one of his best. [30 Apr 2010, p.C3]
    • Chicago Tribune
  20. Father of the Bride
    One of the finest, funniest and most civilized of all Hollywood domestic comedies. [01 Sep 2006, p.C5]
    • Chicago Tribune
    • 61 Metascore
    • 63 Critic Score
    The Damned Don't Cry
    Vincent Sherman's tangy 1950 gangster crime-romance. [19 Jun 2005, p.C3]
    • Chicago Tribune
  22. The Asphalt Jungle
    One of the great film noirs and a quintessential heist movie, a classic of American hard-boiled storytelling that, though endlessly copied, hasn't been bettered. [27 May 2005, p.C6]
    • Chicago Tribune
  23. Stage Fright
    So-so. [23 Jan 1997, p.9B]
    • Chicago Tribune
  24. The Rules of the Game
    No other film has a final effect quite like "Rules." One walks away from it drained and exhilarated, after experiencing a whole world and seemingly every possible emotion in a few swift golden hours.
  25. Cinderella
    Enchanting film.
  26. Sands of Iwo Jima
    John Wayne as the gutsiest sarge and top kick on Iwo Jima, in one of his most prototypical war yarns. Vintage Duke. [09 Jul 2000, p.23C]
    • Chicago Tribune
  27. Gun Crazy
    A fascinating study of sexual heat fueled by guns and ammo. [19 Oct 2001, p.C8]
    • Chicago Tribune
  28. Adam's Rib
    This is the best of all the Tracy-Hepburn comedies--and one whose unabashedly feminist screenplay seems more incisive with each passing year. [10 Mar 2006, p.C7]
    • Chicago Tribune
  29. They Live by Night
    It's permeated with a sweetness and vulnerability unusual for any crime movie. [29 May 1998, p.N]
    • Chicago Tribune
    • 87 Metascore
    • 100 Critic Score
    She Wore a Yellow Ribbon
    The second, and finest, of Ford's cavalry trilogy. [17 Aug 2007, p.C7]
    • Chicago Tribune
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