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. 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.
  2. 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.
  3. 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.
  4. 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.
  5. 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.
  6. 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.
  7. 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").
  8. Dean
    Martin's a smooth enough director to make fuller and more ambitious pictures than Dean. This one's a promising start.
  9. 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!
  10. 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.
  11. Everything, Everything
    Aside from its leading lady, what Everything, Everything has going for it is its light, fantastical aesthetic, an unexpected sense of buoyancy and light.
  12. Diary of a Wimpy Kid: The Long Haul
    A dirge of unfunny scatological material, techno-anxiety and child endangerment masquerading as familial bonding. Settle in for the "Long Haul," because this is one bumpy, miserable ride.
  13. Alien: Covenant
    It's a maddeningly uneven picture, with an action climax staged and executed with the air of a contractual agreement.
  14. The Wall
    The Wall may be fictional, but at its occasional, patient best it feels truthfully scary.
  15. Lowriders
    While Lowriders offers an interesting entree into this world, it's unfortunately too formulaic and predictable to leave much of an impact.
  16. The Lovers
    The Lovers is not about them as individual performers; it's about these actors working in tandem with each other, the script, the director and the other actors. The film works as a whole, not a sum of its parts.
  17. Snatched
    Snatched, more about victimhood than women running their own show, is funny here and there, but in ways that make the bulk of the formulaic material all the more frustrating.
  18. King Arthur: Legend of the Sword
    Optimism is nowhere to be found in Ritchie's movie itself. It is a grim and stupid thing, from one of the world's most successful mediocre filmmakers, and if Shakespeare's King Lear were blogging today, he'd supply the blurb quote: "Nothing will come of nothing."
  19. The Dinner
    The finished product feels tonally indistinct and plays as a bit of a grind.
  20. Chasing Trane: The John Coltrane Documentary
    This is a general-interest documentary, not one for the wonks or jazzbos. But the music, as we keep hearing from the cited experts, friends and admirers, covered so many different styles, Chasing Trane rides right past its own prescribed length of track.
  21. Guardians of the Galaxy Vol. 2
    This one's a step down from the original.
  22. Unforgettable
    It's a uniquely feminine kind of villainy that's transfixed us since classical Hollywood, and Di Novi and Heigl understand it implicitly in order to execute it perfectly.
  23. Sleight
    Sleight fuses superhero story with a tough coming-of-age tale, and it enlivens and elevates both genres into something new and different, while heralding the arrival of Latimore as a star.
  24. Graduation
    A beautifully spun and morally searching tale of interlocking compromises.
  25. Born in China
    The message stays firmly on spiritual questions about the circle of life, but doesn't educate or leave the audience with a call to action about how to personally act to protect these animals, and that feels like a missed opportunity.
  26. Norman: The Moderate Rise and Tragic Fall of a New York Fixer
    A vital and wily seriocomic odyssey. And Gere has never been better, more alive, on screen.
  27. The Lost City of Z
    This is a really good film. It just isn't the traditionally rousing one many will expect, and the trailers promise.
  28. Colossal
    This weird marriage of indie earnestness and matter-of-fact fantasy gives Colossal its moderately engaging distinction.
  29. The Fate of the Furious
    It's ridiculous but fun, as it careens from Havana to Berlin and icy, terrorist-ridden Russia played by Iceland, and a spit-ton of medium-grade digital effects. But the second hour gets to be a real drag, and not the racing kind.
  30. Smurfs: The Lost Village
    The jokes are sodden, relying on tired wordplay and sarcastic delivery to draw the faintest of laughs.
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