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. Barbershop: The Next Cut
    It's a mixed message, but that perfectly encapsulates the confusion of 2016 American politics.
  2. 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.
  3. 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.
  4. The Boss
    The Boss has zero finesse as a comedy.
  5. 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.
  6. Midnight Special
    What happens, when it happens, is … well, either enough or too much, depending on your taste for the fantastic.
  7. 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."
  8. Marguerite
    Marguerite achieves what the protagonist herself never managed: perfect pitch.
  9. Krisha
    The naked emotions, when they finally break loose, carry serious weight, akin to a John Cassavetes psychodrama.
  10. Batman v Superman: Dawn of Justice
    Snyder is not without skills, or ideas, but when a critic finds himself at odds with almost every aspect of a director’s visual approach to material like this, material like this becomes pretty joyless.
  11. The Divergent Series: Allegiant
    It's a pretty dull picture, I must say, because it's my duty to say it. And it's a pretty dull picture, I must say, because something about its particular grade of dullness may cause memory loss.
  12. Miracles from Heaven
    While the film runs a bit too long, and the heartstring tugging becomes overwrought, overall, this family melodrama about a devastating illness and the freak accident that cured it is surprisingly effective, even for those of little faith.
  13. City of Gold
    It's a tasty primer on the man, the eater, the critic and the city.
  14. 10 Cloverfield Lane
    It's best to approach this crafty, intriguing offshoot as its own thing. And this time you actually notice the people.
  15. Zootopia
    Ultimately, all audiences can find something to enjoy in Zootopia, though adults may find more to sink their teeth into, which is always refreshing.
  16. Whiskey Tango Foxtrot
    While it's no disaster, it's oddly indistinct and uncertain.
  17. London Has Fallen
    The film, with its wearying gamer-style rounds of death, is routine at best.
  18. Triple 9
    It's not a ridiculous degree of complexity per se, but screenwriter Matt Cook mistakes solemnity for gravity, and a high body count for dramatic urgency. The cast is terrific, unfortunately.
  19. Gods of Egypt
    Call it "Clash of the Whitans," and call it a folly that doesn't have the energy or delirium to qualify as entertaining crap. It's just crap.
  20. Race
    What's the point of telling Jesse Owens' story if you don't get into what made him tick, and drove his success as an athlete?
  21. The Witch
    Writer-director Robert Eggers' "New England folk tale" film isn't likely to go bonkers in the popular culture the way "Blair Witch" did. But it's an infinitely richer, more meticulous, more elegant and more unnerving horror film — the best since "The Babadook," and very likely a 21st century classic in its hardy yet malleable genre.
  22. Where to Invade Next
    The film is entertaining and disingenuous, which doesn't make it wrong.
  23. How to Be Single
    Roughly half the scenes are terrible, nervously edited and predictable. The other half transcend the innate shrugginess of the script. At the end there's a dose of voice-over narration assigned to Johnson that is so, so very Carrie Bradshaw, you half-expect Sarah Jessica Parker to show up with a lawsuit.
  24. Deadpool
    The movie's far from dull. But first-time feature director Tim Miller's film serves as critique as well an example of what ails the superhero movie industry.
  25. Pride and Prejudice and Zombies
    For all the splurch and head-lopping, Pride and Prejudice and Zombies is monotonal. It turns its action sequences into a noisy blur.
  26. Hail, Caesar!
    The tone of "Hail, Caesar!" is even and assured, yet the comic inspiration is sporadic.
  27. The Finest Hours
    The script embraces certain character archetypes wholeheartedly (pig-headed crew mate; ramrod-stiff officer) and not always successfully. Yet the tone, the mood of the picture, with its desaturated color palette, maintains the right atmosphere.
  28. Son of Saul
    This is a small, tight, starkly claustrophobic film, closer in impact to Elie Wiesel's first-person account of the concentration camps, "Night," than to the artful, slightly suspect emotional catharsis of director Steven Spielberg's "Schindler's List."
  29. Ride Along 2
    The script by Phil Hay and Matt Manfredi gives you next to nothing for narrative complication and surprise, and a meager amount of verbal jokes.
  30. The Lady in the Van
    Shepherd, apparently, was a genuine, needle-sharp wit and the way Smith plays her, the character's tart rejoinders are superhumanly perfect.
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