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. Once Upon a Time ... in Hollywood
    The results? More evocative than provocative. But evocative is not nothing.
  2. David Crosby: Remember My Name
    It’s his own words, and confronting them now, having lost many of his friends to spats and fights, brings Crosby to his most vulnerable place.
  3. The Art of Self-Defense
    Stearns grapples with notions of gender, violence and identity. But in this mannered, ironic take, his punches don't land hard enough to leave a mark.
  4. Sword of Trust
    A glass three-fifths full, writer-director Lynn Shelton’s affable comedy Sword of Trust gets by on the improvisational wiles of its cast.
  5. The Farewell
    With impeccable craft, Wang has created a funny, heartfelt and bittersweet film that will ring riotously true for anyone who knows the joys and agonies of a large, complicated family, regardless of culture, ethnicity or nationality.
  6. Crawl
    A grim yet snappy little thriller.
  7. Maiden
    Maiden is a grand adventure, the likes of which we don’t always see too often anymore.
  8. The Lion King
    The new music helps, a little. But the movie is a karaoke act, re-creating the original movie’s story beats beat-by-beat-by-beat.
  9. Stuber
    There is absolutely no reason to catch a ride with the nasty, brutish and shrill "Stuber," a horror movie about our current American nightmare of late capitalist economics and unchecked law enforcement masquerading as an "action comedy."
  10. Ophelia
    Ridley is at her best in scenes with Watts, as both their characters are strong but must deal with romantic blindness. The film also takes some liberties with Gertrude’s story, adding a level that fits a modern telling.
  11. Spider-Man: Far from Home
    It’s good. It’s fun. It goes out of its way to salute the visual effects armies that have made the MCU what it is today, for better or worse.
  12. Yesterday
    Everything in the film is high: high concept, high pressure, high stakes and it often feels bizarrely forced. Nothing makes any sense and is never explained.
  13. Wild Rose
    Despite all the limitations on her life, Rose-Lynn is one of the most free-spirited creatures to ever be put on film.
  14. Midsommar
    Pugh excels throughout. The movie works best, I think, as a black-comic treatise on what can befall a garden-variety passive-aggressive mixed blessing of a boyfriend if he’s not careful.
  15. Annabelle Comes Home
    Set in 1973, amid a forest of shag carpeting, Annabelle Comes Home is a nice little summer surprise, and quite unexpectedly the freshest of the three “Annabelle” movies spun off from the larger “Conjuring” galaxy of horror films.
  16. Child's Play
    This is a brutally violent reset on the '80s franchise that ultimately became a punchline, but while it goes big on gore and atmosphere, Child's Play doesn't muster up any actual scares.
  17. In the Aisles
    The stars, it must be said, are slightly more interesting than the characters, which is another way of saying Rogowski and Huller amplify what’s there on the page.
  18. Echo In the Canyon
    How did an apparently sincere tribute turn into such a weirdly clueless vanity project?
  19. Toy Story 4
    While we all, as moviegoers, experience franchise and sequel fatigue on our own unpredictable timetables, this film brightens the summer without simply going through the motions.
  20. Shaft
    Cool New York City detective John Shaft is back again in, you guessed it, Shaft, with a modern update that goes completely sideways in all the wrong ways. This Shaft is a bad mother all right, and it'd be better if he just shut his mouth.
  21. The Last Black Man in San Francisco
    The musical score by Emile Mosseri of the band The Dig, is very fine stuff, supple and surprising in its blend of classical, jazz and pop strains. It adds to the otherworldly quality established and sustained so well by Talbot, and by the actors.
  22. Men in Black: International
    Men in Black: International isn’t bad; it’s an improvement over “Men in Black II” (2002) and “Men in Black 3” (2012), sequels that even its makers may have forgotten.
  23. Late Night
    Amiable if frustrating picture.
  24. The Fall of the American Empire
    Though jarringly violent at times, the film becomes a wash of low-keyed comic attitudes thrown into the works of a crime story.
  25. The Secret Life of Pets 2
    We want to watch pets behave exactly as we expect them to, and sometimes in a completely incongruous manner. Like the original, “Pets 2” delivers just that, nothing more.
  26. Dark Phoenix
    I mean, whatever with the “X-Men” movies. It’s hard to even rent an opinion on the discrete strengths and weaknesses of a franchise that has devolved to the point of Dark Phoenix, a lavishly brutal chore nearly as violent as the Wolverine movie “Logan,” and a movie featuring more death by impalement and whirling metal than all the “Saw” movies put together.
  27. Rocketman
    It moves with confidence; it’s vivid; it pulls off a riskier, full-on musical fantasy version of one pop superstar’s story.
  28. Always Be My Maybe
    In every good way, thanks primarily to Wong and Park and their chemistry, Always Be My Maybe is pure commercial product, yet it feels authentically alive where it counts.
  29. Ma
    Known for her lovable roles in "The Help" and "Hidden Figures," Spencer goes dark and sadistic with an enthusiastic glee, her signature smile (and those bangs!), and she creates one of the most memorable horror villains in recent history. She makes "Ma" worth it.
  30. Godzilla: King of the Monsters
    The script’s quippy streak could’ve used better jokes. But this is one franchise that doesn’t feel fished out or exhausted or exhausting.The monsters, Toho studio classics redesigned but faithfully so, are pretty swell and monumentally destructive.
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