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. Babygirl
    Kidman rises to the occasion, and while one-note mediocrities like “The Substance” offer gallons of fake blood where the provocations should be, Reijn’s film — seen the second time, at least – only needs its nerve and its interest in what Kidman can do, which is more than I even realized.
  2. Mufasa: The Lion King
    It’s solid craft, but it’s craft wedded to a style of filmmaking that feels wholly impersonal, even with a top-flight director at the helm.
  3. Kraven the Hunter
    Taylor-Johnson is a solid actor, but on the page and in performance, Kraven’s barely there and too cool to care about what’s happening. Which makes it hard for moviegoers to care.
  4. Oh, Canada
    Gere remains a unique camera object, with a stunning mastery of filling a close-up with an unblinking stillness conveying feelings easier left behind.
  5. Nightbitch
    At its best, Nightbitch is many things at once: funny, unruly, bizarre, tender.
  6. The Order
    We know where The Order is going; the actors ensure our interest en route.
  7. Yacht Rock: A Dockumentary
    Fundamentally the film succeeds because the musicians themselves are good storytellers.
  8. Moana 2
    Moana 2 is more of an action movie with a few accidental musical numbers of varying quality.
  9. All We Imagine as Light
    This is sublime work, with poetry and prose in unerring balance, thanks to writer-director Payal Kapadia.
  10. Gladiator II
    Truly, this is a movie dependent on managed expectations and a forgiving attitude toward its tendency to overserve.
  11. Wicked
    Too often, though, the magic in Wicked remains stubbornly unmagical. And whenever Erivo isn’t around to make us believe, and take the mechanics of Wicked to heart, Part I reveals what’s behind the curtain, an adequate set-up for next November’s second act.
  12. Red One
    Red One is the holiday fantasy built on retribution, punishment and crushed hopes we deserve right now.
  13. A Real Pain
    A Real Pain, shadowed by the Holocaust and the grandmother we never see, may be a modestly scaled second feature, but Eisenberg makes an enormous leap forward, coming off his promising directorial debut, “When You Finish Saving the World.”
  14. Blitz
    Cross-cutting between son and mother, and their constant efforts to reunite among the carnage, flames and rubble before it’s too late, director McQueen keeps the screws tight, blowing past realism for a trickier realm of historically grounded but highly stylized imagination.
  15. Juror #2
    It’s one of his good ones. Small, modest, a little stodgy. But good, and even a little brave in its courtroom-drama willingness to dunk the audience in the main character’s soup of anxiety almost immediately.
  16. Here
    The book’s melancholy spareness has been replaced by a “Here” existing somewhere in a pristine, remote suburb we’ll call Uncanny Valley Falls, a few miles away from real life.
  17. Anora
    It’s not perfect, but Anora is a touching comic and dramatic odyssey, driven by a terrific performance by Mikey Madison in the title role.
  18. Conclave
    Sleek, confident and peppered with delicious portraits in pursuit, deceit and evasion, the carnival of papal intrigue known as “Conclave” works like gangbusters.
  19. Venom: The Last Dance
    This “Last Dance” may be shaggy, silly and even a little bit stupid — and there’s absolutely nothing wrong with that, especially when it’s winking so hard at its own genre play.
  20. Smile 2
    Smile 2 goes in a newish direction, to frustrating mixed results — but it’s a mixed bag you can respect because it’s not hackwork and it’s trying new things.
  21. Super/Man: The Christopher Reeve Story
    Super/Man should introduce many people, young and older, to a fine actor’s work and, more importantly, to what Reeve accomplished for himself and so many others in the life he was dealt.
  22. The Apprentice
    It’s an actual, conflicted and sporadically insightful film, dramatizing what made Trump Trump at an especially impressionable period in his rise.
    • 63 Metascore
    • 75 Critic Score
    Piece By Piece
    An at-times deliriously entertaining biopic.
  24. The Wild Robot
    Recently making its world premiere at the Toronto International Film Festival, The Wild Robot already has been pumped up into the contradictory “instant classic” stratosphere. I understand the enthusiasm, or most of it, I guess, especially given the mellow, less photorealistic, more painterly visual landscapes, and Sanders’ assured tear-duct massage technique.
  25. The Outrun
    Saoirse Ronan does subtly spectacular work in every phase of this character’s odyssey.
  26. Saturday Night
    In 2024 a movie about a live-TV countdown to destiny, once upon a time in ’75, needs more than moderately skillful reverence, and reaction shots of people cracking up at colleagues, to show us what it might’ve been like to be there.
  27. Joker: Folie à Deux
    So who’s up for a strange, disarming musical? As much as I hated the first one, this one works for me.
  28. A Different Man
    With a crucial performance from Adam Pearson to complement Stan’s fine work, the film is well worth seeing. It is, in fact, a serious joke about the act of seeing.
  29. In the Summers
    A lot happens, some of it life-changing, some of it heartrending, parts of it (in story terms) a bit rushed or on-the-nose. The actors, unerringly well-cast, more or less take care of those last parts.
  30. All Happy Families
    The script’s conflicts and obstacles get their tidy share of the available 90 minutes. I’d love to see a two-hour version of Rose’s film, aired out to some degree, with a more unpredictable rhythm and some conversations allowing us to hang out with these people without worrying about advancing the story.
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