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. A Ghost Story
    David Lowery's film A Ghost Story is best seen a second time, though obeying the customary rules of time and cinema, you'll have the mysterious pleasure of seeing it a first time to get there.
  2. War for the Planet of the Apes
    Gripping, visually assured and working far above its summer-sequel paygrade, War for the Planet of the Apes treats a harsh storyline with a solemnity designed to hoist the tale of Caesar, simian revolutionary — the Moses of apes — into the realm of the biblical.
  3. My Journey Through French Cinema
    Modeled on Martin Scorsese's engaging first-person documentaries on the cinema, this one has its own avid personality and scholarly charm. Whoever you are, you'll learn a lot.
  4. Austin Found
    Linda Cardellini can play just about anything, with honesty and delicacy, so it's no surprise she makes even a semi-sweet nothing like Austin Found worth a look.
  5. Spider-Man: Homecoming
    It's the non-superhero elements of Spider-Man: Homecoming that make it a great movie, and a non-stop fun summer flick. There isn't an ounce of fat on this film, packing in so many story elements and characters, while finding room for small, funny asides and moments that make it an addictively rich, idiosyncratic and re-watchable movie.
  6. Mr. Majestyk
    With a story that is absurd every step of the way, Mr. Majestyk is turned into a hodge podge of cruel and unusual punishments.
  7. Patriot Games
    A pretty good how-to movie as far as the CIA combating terrorism is concerned and a very good movie in terms of explaining why Harrison Ford is one of the most compelling leading men. [5 June 1992, p.C2]
    • Chicago Tribune
      • Posted Jun 29, 2017
  8. Hot Shots!
    Hot Shots! is very sharp and very funny, and if it doesn't have the aggressive, anarchic edge of "Airplane!" (attitude seems to be the specialty of David Zucker, who has just released "The Naked Gun 2 1/2 "), it is consistently, almost exhaustingly hilarious.
  9. Eddie Murphy: Raw
    Unlike Richard Pryor, whose rough language adds an important rhythmic punctuation to his monologues, Murphy uses vulgarity to shock and divide his audience.
  10. Three Amigos!
    Martin is joyful; Chase seems depressed, and Short comes off as merely happy to be in his first movie.
  11. The 'Burbs
    Though The burbs is hardly an actor's film, Hanks continues to demonstrate the ease and maturity that has been his since Big, while Dern, Ducommun and Feldman lend broad but effective support.
  12. Despicable Me 3
    The whole thing might as well all be written in Minions chatter. It's wacky, but somehow dull, kind of like conversing with a Minion.
  13. The Big Sick
    The Big Sick has the confidence to let the audience come to Nanjiani and Gordon's fictionalized real-life situation, rather than yank us in, kicking and screaming.
  14. The Beguiled
    The Beguiled probably could've benefited from a little more energy in its telling. Still, Coppola offers some gorgeous images of the past made present.
  15. Jumpin' Jack Flash
    A good third of this overblown movie consists of stunt-filled action sequences that turn a human story into something akin to Cannonball Run. That's too bad, because Goldberg's character is a terrible thing to waste.
  16. Soapdish
    Soapdish runs on longer than necessary, and not every scene is as funny as one would like, but it's funny enough to recommend. [31 May 1991, p.C]
    • Chicago Tribune
      • Posted Jun 28, 2017
  17. Baby Driver
    It's a thrill to watch it unfold, but the slick filmmaking combined with familiar tropes precludes most spontaneity.
  18. Maudie
    Maudie works valiantly, and not entirely convincingly, to suggest a happy-ish marriage, all things considered.
  19. Transformers: The Last Knight
    The rhythmic assurance of truly bracing screen action, even if it's just a bunch of metal beating up a bunch of other metal, or clobbering humans, never gains traction. The cross-cutting suggests the editors took care of things via group text.
  20. All Eyez on Me
    Shipp nails the energetic, motor-mouthed cadence of the outspoken Shakur. But the film surrounding Shipp is rough going.
  21. Beatriz at Dinner
    By Lithgow's standards this is pretty low-keyed acting, but he may have played one too many blowhards in his recent career. His performance works, but it lacks surprise and, as written, he's a bit much.
  22. Rough Night
    Rough Night is good one minute, weak or stilted or wince-y the next, though even with seriously uneven pacing and inventiveness it's a somewhat better low comedy than "Snatched" or "Bad Moms," or (here's where I part company with the world) the "Hangover" pictures. Yes, even the first one.
  23. Cars 3
    Cars 3, a reasonably diverting account of middle-aged pity, humiliation and suffering as experienced by Rust-eze-sponsored race car Lightning McQueen, is not the weakest of the Disney/Pixar sequels (I’d vote “Cars 2” or “Monsters University,” those sour, desperate things). But it’s by far the most guilt-ridden.
  24. Megan Leavey
    Animals make for good screenwriting devices, as characters can speak their inner feelings to them, but that doesn't make for the most subtle or efficient screenwriting.
  25. My Cousin Rachel
    Weisz and the sharpest supporting players lift My Cousin Rachel to a higher plane. Holliday Granger as Philip's smitten family friend; Simon Russell Beale, a truly great actor, as the skeptical family solicitor; Tim Barlow, tottering around as the sublimely crusty servant: These are choice turns.
  26. It Comes at Night
    While the film's patient, moody progression into personal nightmare territory won't be for everyone, it's a genuinely evocative creation.
  27. The Mummy
    The mayhem in The Mummy feels desperate, mistimed, grueling in the wrong way (the film's violence is infinitely less appropriate for preteens than that of "Wonder Woman").
  28. Dean
    Martin's a smooth enough director to make fuller and more ambitious pictures than Dean. This one's a promising start.
  29. Wonder Woman
    For the first time in a long time, I came out of a DC comic book movie feeling ready for a sequel. It feels right, at this actual historical moment, when men made of something less than steel are bumbling around trying to run things. Paging Paradise Island!
  30. Baywatch
    The movie is all preening and very few laughs, though Daddario and Efron have a few moments, and Johnson remains a supremely likable slab of movie star.
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