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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    • 72 Metascore
    • 75 Critic Score
    Gimme Danger
    If you're looking for a rock star to carry a movie mostly by himself, though, Iggy (aka James Osterberg), now 69, is a good candidate.
  2. Loving
    Nick Kroll is shrewdly cast as the Lovings' ACLU lawyer, green but enthusiastic; my favorite of the supporting turns comes from Sharon Blackwood, as Richard's rock-solid midwife mother.
  3. Arrival
    Shot under gray skies and in artful shadows by cinematographer Bradford Young, scored to wickedly disorienting music by Oscar-nominated "Sicario" composer Johann Johannsson, Arrival will cast a spell on some while merely discombobulating others. Right there, I'd say that indicates it's worth seeing.
  4. Almost Christmas
    For all the over-the-top operatic moments — car wrecks and prom throwbacks and rifles at the dinner table — there's something about the wild tonal shifts and chaos of Almost Christmas that rings true about the holiday season.
  5. Hacksaw Ridge
    Vince Vaughn, plainly enjoying himself, plays his casually astonished sergeant, who encourages hazing and beatings of Doss.
  6. Trolls
    There's something about the neon-tinted, sugar-smacked highs of Trolls that can be bizarrely infectious. When it's weirder, it's better, and there are elements of the animation design seemingly inspired by old 1970s cartoons and children's shows like "H.R. Pufnstuf."
  7. Doctor Strange
    This latest in the ever-broadening Marvel movie landscape is fun. For an effects-laden franchise launch it's light on its feet, pretty stylish, worth seeing in Imax 3-D (for once, the up-charge is worth it) and full of tasty, classy performers enlivening the dull bits.
  8. Moonlight
    The reason it's distinctive has less to do with raw emotion, or a relentless assault on your tear ducts, and more to do with the film medium's secret weapons: restraint, quiet honesty, fluid imagery and an observant, uncompromised way of imagining one outsider's world so that it becomes our own.
  9. Inferno
    This is a franchise with lead weights tied around its ankles.
  10. Certain Women
    They're lifelike, I suppose, in that you believe and become invested in what happens to everyone. But they're poetic, too, in that Reichardt and her first-rate ensemble find intersections of the mundane and the mysterious all around this broad, blustery landscape.
  11. Aquarius
    Braga isn't quite the whole show in Aquarius, but she's certainly a lot of it.
  12. Keeping Up with the Joneses
    Galifianakis steals the show as the friendly fussbudget in a performance we've come to expect from him. The enormous potential on screen is tantalizing, which is why the disappointment of failed execution stings.
  13. Jack Reacher: Never Go Back
    The latest Reacher film is directed, with reasonable skill and no trace of personality, by Edward Zwick, based on a screenplay taken from the 18th novel. I wish I had more dynamic news to report, but contrary to Reacher's own violent tendencies, some things in life and the movies practically defy a strong reaction.
  14. Kevin Hart: What Now?
    Hart's turn as 0054 is both a fun riff on the genre and a statement that Hart doesn't need to ask for permission to be Bond — because he can do whatever he wants.
  15. The Accountant
    I admit I would've had a hard time getting through it without the help of Simmons and Addai-Robinson, over there in the B plot. The character at the center of the story is treated with respect and admiration, but in dramatic terms he's about as real-world plausible as Batman.
  16. The Birth of a Nation
    Parts of The Birth of a Nation are bluntly effective and beautifully acted, though one of the drawbacks, ironically, is Parker's own performance. Even the rape victims of the screenplay have a hard time getting their fair share of the screen time; everything in the story, by design, keeps the focus and the anguished close-ups strictly on Parker.
  17. The Girl on the Train
    For one thing, and it's a big thing, it's filmed all wrong. Director Taylor and cinematographer Charlotte Bruus Christensen favor handheld, Rachel's-eye-view close-ups, by the woozy hundreds. The toggling editing rhythms get to be a bit of a chore.
  18. Miss Peregrine's Home for Peculiar Children
    Burton's never been especially good at finding the internal motor or the rhythmic drive within a scene. This, I think, is why Miss Peregrine stalls, again and again, while the bird woman or Samuel L. Jackson's pointy-toothed, fright-wigged Barron tells us what's up with what we just saw, and what'll happen next.
  19. A Man Called Ove
    Sweet and flinty in roughly equal measure, the movie's a big hit in its native country.
  20. Masterminds
    Masterminds still has its riotously funny moments, thanks to the fearless, uninhibited actors and a director who lets them play.
  21. Deepwater Horizon
    Berg sticks to the job at hand, imagining what it is was like to be there, and to be the victim of sloppy, deadly safety practices in the name of a good day on Wall Street.
  22. Storks
    Storks is at times cacophonous and overly busy, and the animation tends toward the goofily humorous rather than the spectacular. However, Stoller manages to pull off a third act and emotional resolution that's genuinely moving.
  23. Goat
    There's a numbing aspect to Goat. But the best of it, I'd say, is honorably harsh; the subject should be difficult to watch, or the filmmakers aren't being honest about the way we operate as a culture, and what we allow and encourage our young men (and the young women who suffer the fallout) to put up with, still.
  24. Queen of Katwe
    Nair's film, her best in a long time, is hardly the first to use a chessboard as a symbol of one life's struggles. It is, however, one of the best.
  25. The Magnificent Seven
    This movie's all over the place, trying too hard to be all Westerns to all sensibilities.
  26. Snowden
    It's fairly absorbing though, increasingly, a bit of an eye-roller, and it's designed, photographed and edited to make you itchy with paranoia.
  27. Other People
    The moments between mother and son are some of the most intimate and moving of the film.
  28. Sully
    It's a wonderful New York story, and Eastwood takes care to make it a story about the many different people who made it a miracle. That is the emotional core of the film, a celebration of the simple act of reaching out a helping hand without a second thought.
  29. The Hollars
    The always wonderful Martindale nails the tone in her warm and nuanced performance, combining sly humor and a soulful presence, while the men orbiting around her range from complete goofs (Copley and Jenkins) to self-involved and dour (Krasinski).
  30. Morgan
    The failure of Morgan is in its lack of restraint. The first half of the film is as tightly controlled as the lab facility, with small moments of foreshadowing planted expertly, if obviously. The second half descends into a violent bloodbath, and the twists in the story that lie just below the surface waiting to be discovered are spoken aloud, taken from theory to fact
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