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. Suffragette
    The torment that Maud is put through is devastating, but Suffragette, as a film, often robs itself of its own emotional power.
  2. Truth
    The film feels dodgy, tentative and uncertain as to how to frame its own protagonist in a complicated story of journalistic compromise (and worse).
  3. Burnt
    Director John Wells dices the action, even the simplest conversation, into five harried shots when one would suffice. The many food-prep montages are cut and paced to the same numbing rhythm.
  4. Room
    The parent/child relationship at the movie's core is endlessly fascinating.
  5. Rock the Kasbah
    Star vehicles this rickety have a way of making the world unsafe for comic democracy.
  6. Beasts of No Nation
    I never felt emotionally exploited by the terrors on screen. Rather, Beasts of No Nation is an act of gripping empathy.
  7. Crimson Peak
    Not even the film's occasional bursts of ultra-violence, or the endlessly oozing red clay, or Hiddleston crying a red tear, or Chastain swanning around in one flaming crimson ball gown after another, can infuse this gorgeous bore with anything like red-blooded suspense.
  8. Bridge of Spies
    The film is an anomaly — a confident, slightly square, highly satisfying example of old-school Hollywood craftsmanship, starring a major movie star brandishing a briefcase, and a handkerchief, rather than a pistol.
  9. Steve Jobs
    The movie, a formidable technical and design achievement, has everything going for it except a sense of Jobs' inner life.
  10. Pan
    The most joyless revisionism since Disney's "The Lone Ranger.
  11. The Second Mother
    Muylaert's picture relates to many other South American domestic comedies pitting "the help" against the economic overlords, but this one has the grace to humanize everyone on screen. The results are both smart and curious.
  12. Hotel Transylvania 2
    The spookiest thing about Hotel Transylvania 2 is how much funnier, colorful and more original it is this second time around.
  13. The Green Inferno
    It's clear that Roth was trying to say something about the brave new world of social media-enabled social justice, and public shame as a tool for change, but the message is garbled. That it comes wrapped in a horror package that just isn't truly scary or suspenseful is the real shame though.
  14. 99 Homes
    At its best, 99 Homes finds Bahrani tightening the screws on his own style, going for speed, concision and an agitating rhythm where his previous films took their time. I hope he'll go on to make movies combining the vital aspects of all his work.
  15. Shanghai
    Cusack puts in work as Paul, an old-fashioned hero. But he seems miscast and can't quite modulate the levels of camp in his performance.
  16. Prophet's Prey
    The movie finds what solace it can in giving voice to those who escaped this church's grasp.
  17. Mississippi Grind
    Reynolds and Mendelsohn could not be more different actors, but in this pairing they are perfect.
  18. The Martian
    It's one of the most comforting science fiction films in years.
  19. The Walk
    I cannot say how I'd feel about The Walk if I'd never seen "Man on Wire," because I did see "Man on Wire," and I can't un-see it. I love it. I can only say The Walk struck me as an honorable good try of an also-ran, though with some lovely things to offer.
  20. Uncle John
    A fair amount of Uncle John puts us behind the wheel or alongside Ashton as he drives, preoccupied with his misdeeds, along country roads lined with cornfields. No dialogue needed; in these transitions, Ashton and his surroundings are enough.
  21. Goodnight Mommy
    Flashes of Goodnight Mommy are forceful and blackly funny.
  22. Sicario
    Sicario doesn't fall apart in its second half, exactly, but it does settle for less than it should.
  23. Stonewall
    Because Stonewall turns everyone into a sentimental or suffocating "type" instead of a dimensional character, the results are sheer noise.
  24. The New Girlfriend
    The actors are more than fine. Demoustier is the key, making her character's shifts in astonishment and perplexity honest and plausible.
  25. The Black Panthers: Vanguard of the Revolution
    It's a strong reminder of the times, then and now.
  26. The Intern
    Has its bright spots but is practically blinded by its own privileged perspective of life among the landed gentry of Brooklyn.
  27. Black Mass
    If anything, director Cooper is so intent on portraying Bulger as a man, not a monster, the man comes off a little softer than he was, probably.
  28. Maze Runner: The Scorch Trials
    Though Ball's workmanlike handling of the second in the trilogy, "The Scorch Trials," proves mainly that he can keep a franchise from running completely off the rails when the tracks have been laid perilously near a swamp of "dys-lit" cliches.
  29. Everest
    A fairly good, extremely grueling movie as far as it goes — tracks the true-life fortunes of a battered group of climbers to the highest place on Earth. Yet somehow it doesn't go far enough.
  30. Queen of Earth
    Perry may never make a movie for the masses, whoever they are. But his truest work burrows into weird, blackly comic places few other filmmakers would dare explore.
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