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. Weiner
    Several aspects of Weiner, from Jeff Beal's sardonic music (interpolating, among other cues, the theme from "S.W.A.T.") to the shock-cut editing strategies, nudge the movie toward entertaining if facile mockery mixed with just enough empathy to prevent curdling. It's pretty irresistible viewing, though, which is a pretty sad thing to concede.
  2. Sunset Song
    Parts of Sunset Song rank with Davies' very best work.
  3. Alice Through the Looking Glass
    The real problem is that there isn't enough whimsy in the world to save this unengaging story.
  4. Love & Friendship
    Whit Stillman's Love & Friendship is compact, modestly budgeted, sublimely acted and almost completely terrific.
  5. The Angry Birds Movie
    Proves to be more than just a gimmick, and it doesn't skimp on any of the quirky wackiness that you might expect from a film about blob-shaped, flightless birds battling pigs.
  6. The Nice Guys
    Is it fun? Parts, yes, and many will get exactly what they wanted from The Nice Guys.
  7. Neighbors 2: Sorority Rising
    With Neighbors 2: Sorority Rising, they've flipped the script, creating a feminist party classic that's completely current and doesn't skimp on any of the wild humor. It's also even better than its predecessor.
  8. The Lobster
    Everything within the film connects to neighboring elements, performance to performance to cryptic absurdity (the opening is one of the strangest of the year) to surprisingly heartfelt acknowledgment of the power of love. Whether things work out or not.
  9. Money Monster
    Foster's direction, aided by cinematographer Matthew Libatique's sharp, clean light, is the most fluid and well-considered of her career. The script is an asset, too. Until it becomes a mixed-bag liability.
  10. X-Men: Apocalypse
    This one’s no gem. It’s simply large, and long (two-and-a-half hours, the usual length lately with these products). I remain unpersuaded and slightly galled by the attempts to interpolate the history, locale and tragic meaning of Auschwitz into what used to be known as popcorn movies.
  11. The Meddler
    The smooth, cozy charm of writer-director Lorene Scafaria's "The Meddler" offers considerable seriocomic satisfaction.
  12. Louder Than Bombs
    Louder Than Bombs never quite comes together. You keep waiting for it to gel, but it just drifts along until it drifts away.
  13. Fireworks Wednesday (2006)
    Much of the action takes place in the couple's haphazard apartment, but the movie really does feel like a movie, with Farhadi's camera unobtrusively energizing the close-quarters exchanges, both verbal and non-verbal. The acting is splendid.
  14. Captain America: Civil War
    Nothing in “Civil War” takes your breath away. All the exteriors are shrouded in the same overcast, indistinct light. Little in story terms is what you’d call daisy fresh. But almost everything in it works on its own prescribed terms, and the quiet moments register.
  15. Keanu
    The movie is hit-and-miss in an unusually clear-cut way. It's funny for 45-50 minutes. Then it's strained and abrasive and entirely too devoted to action-movie tropes for 45-50 minutes, minus end credits. I can recommend the first half.
  16. Mother's Day
    Mother's Day is a total mess, but what's truly offensive is that they didn't even try to make this cynical, post-Sunday brunch cash grab even remotely watchable. Your mom deserves so much better this Mother's Day. Go see "The Meddler" instead.
  17. Elvis & Nixon
    It's a small film, perhaps less ambitious or probing (even in a comic vein) than it might've been. But it's a good one, and the actors go to town without turning Elvis & Nixon into a chance meeting between an Elvis impersonator and Rich Little.
  18. The Huntsman: Winter's War
    Every time Charlize Theron is on screen, the movie gets crazy campy, and therefore at least somewhat interesting.
  19. Criminal
    Criminal feels like the kind of high-concept, unapologetically preposterous action movies of the heyday in the '80s and '90s. If that's your thing, it's a hoot.
  20. The Jungle Book
    Director Jon Favreau's voice cast for the animals is tiptop.
  21. The Invitation
    The movie is a small marvel of contained spaces, exploited beautifully by Kusama and cinematographer Bobby Shore.
  22. Barbershop: The Next Cut
    It's a mixed message, but that perfectly encapsulates the confusion of 2016 American politics.
  23. Demolition
    Gyllenhaal certainly holds the screen; at this point in his career, he has found a way to rise above whatever needs rising above. But midway through Demolition, I longed for a sequel to "Nightcrawler" instead.
  24. Miles Ahead
    The reason I like Miles Ahead, despite its problems, has everything to do with Cheadle both behind and in front of the camera.
  25. The Boss
    The Boss has zero finesse as a comedy.
  26. I Saw the Light
    Hiddleston, his eyes full of fire and melancholy longing, was an inspired choice. Everything not-quite-right with most movies, however, goes wrong long before the actors arrive on set.
  27. Midnight Special
    What happens, when it happens, is … well, either enough or too much, depending on your taste for the fantastic.
  28. Everybody Wants Some!!
    The film doesn't so much build as glide, in a pleasing, half-stumbling way, to the first day of school, which links Everybody Wants Some!! to Linklater's previous film, the gentle masterwork "Boyhood."
  29. Marguerite
    Marguerite achieves what the protagonist herself never managed: perfect pitch.
  30. Krisha
    The naked emotions, when they finally break loose, carry serious weight, akin to a John Cassavetes psychodrama.
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