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 1.5 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: 5,116 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. Scarface
    Gangster classic. [21 Jan 2005, p.C6]
    • Chicago Tribune
    • 80 Metascore
    • 75 Critic Score
    Freaks
    Wallace Ford co-stars, but make no mistake, it's the actual sideshow talents whose unusual traits have kept this film singular and unforgettable. [19 Oct 2007, p.C5]
    • Chicago Tribune
    • 83 Metascore
    • 100 Critic Score
    Shanghai Express
    Great Hollywood kitsch, supremely visualized by Von Sternberg and cinematographer Lee Garmes. [07 Nov 2003, p.C6]
    • Chicago Tribune
  4. Dr. Jekyll and Mr. Hyde
    Fredric March plays the split personality doctor/killer in this stylish early version of Robert Louis Stevenson's shivery classic. [06 Apr 2007, p.7]
    • Chicago Tribune
  5. Frankenstein
    For its influence alone, this is a movie that more than deserves its classic status. [23 June 2000, p.M]
    • Chicago Tribune
  6. Monkey Business
    Volcanically funny. [23 Dec 2005, p.C7]
    • Chicago Tribune
    • 80 Metascore
    • 88 Critic Score
    The Public Enemy
    James Cagney, wielding gats and grapefruit, became a star playing the murderous young Irish-American hood Tom Powers, a character modeled on Capone rival Dion O'Banion, in this classic, grim, unusually violent gangster film. [26 Jun 2009, p.C5]
    • Chicago Tribune
  8. The Front Page
    Lewis Milestone preserves more of the original play than Hawks in His Girl Friday, but it's a much thinner movie: more mechanical, less chilling or ripe in its cynicism, the pace less nimble and charged. Still, the dialogue is gritty, magical, top-flight. Modern screenwriters, see this and weep. [25 Jul 1999, p.43C]
    • Chicago Tribune
  9. City Lights
    The closing shot of Charlie Chaplin's face in City Lights, his heart breaking: the highest form of screen acting, the most effective tear extraction exercise the medium has yet to offer.
    • Chicago Tribune
  10. Murder!
    Highly inventive, full of perverse touches and clever flourishes. [26 Nov 1999, p.A]
    • Chicago Tribune
  11. All Quiet on the Western Front
    It remains an anti-war masterpiece. [09 Feb 2007, p.C6]
    • Chicago Tribune
  12. Blackmail
    Hitchcock's first talkie, begun as a silent film and then converted midstream, alternates stiff dramatic scenes with brilliant, highly visual suspense sequences. [26 Nov 1999, p.A]
    • Chicago Tribune
  13. The Passion of Joan of Arc
    One of the cinema's imperishable visions of faith against injustice. [20 Feb 1997, p.9E]
    • Chicago Tribune
    • 78 Metascore
    • 75 Critic Score
    Wings
    It is the aviation scenes that make the movie memorable. The story around which they are built is just another story, similar to, but not so gripping as "The Rough Riders." But any lack here is made up for in the airship maneuvers. They are magnificent. [01 Nov 1927, p.37]
    • Chicago Tribune
  15. The Lodger: A Story of the London Fog
    Hitchcock's first thriller and the film that established him: A moody silent melodrama based on Marie Belloc Lowndes' tale of a mysterious lodger in fear-crazed London, who may be a modern Jack the Ripper. [04 Jan 2002, p.C1]
    • Chicago Tribune
  16. Sunrise
    Murnau's silent masterpiece about a troubled young country couple (Janet Gaynor and George O'Brien), a vamp from the city (Margaret Livingstone), murder plots, fate and redemption contains some of the most glorious visual set-pieces in the history of cinema. [01 Aug 2008, p.C8]
    • Chicago Tribune
  17. Battleship Potemkin
    Eisenstein's incandescent creativity remains strikingly obvious. The most brilliant of all Soviet silent films. [30 Jan 1998, p.N]
    • Chicago Tribune
  18. The Seventh Continent (1989)
    The Seventh Continent is a calm chronicle of hell, a clinical look at how commonplace people can erupt into despair or violence. Bleak, cool, beautifully controlled, liberatingly intelligent, it chills our hearts as it opens our minds. And it establishes Haneke as one of the more remarkable young contemporary filmmakers.
  19. Madame Bovary
    Not up to one of the greatest of all novels, of course, but a terrific movie romance with a great ballroom scene. [16 Mar 2007, p.C4]
    • Chicago Tribune
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