Chicago Tribune's Scores

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For 7,601 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: 5,106 out of 7601
  2. Mixed: 1,473 out of 7601
  3. Negative: 1,022 out of 7601
7601 movie reviews
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  1. The Look of Silence
    Painful and unforgettable — a serious and honorable form, perhaps the highest, of "gotcha" journalism imaginable.
  2. The Man from U.N.C.L.E.
    How is that Vikander, who played the robot in the recent (and worthwhile) "Ex Machina," was twice as lively and five times as human in that picture than in The Man from U.N.C.L.E.?
  3. The Gift
    All three leading performers are scarily convincing on the film's own tight, clammy terms.
  4. The End of the Tour
    The actor (Segel) creates a dreamy, solemn but subtly vibrant version of Wallace that works for him and for the material.
  5. Ricki and the Flash
    Why does this film, with so many first-rate artists in its corner, not quite work? Partly it's a matter of style, but mostly it's because the script is made of tin.
  6. Fantastic Four
    From Miles Teller to Kate Mara to Reg E. Cathey, everyone on screen in Fantastic Four speaks in a flat, earnest monotone with a determinedly low-keyed air bordering on openly not giving a rip.
  7. Samba
    The cast is full of strong actors, among them Tahar Rahim (riveting in "A Prophet") as Samba's allegedly Brazilian friend and confidant. It's easy to enjoy what the cast does on screen; it's harder to buy the nutty mood swings.
  8. The Stanford Prison Experiment
    It never should've been OK'd in the first place and never should've gotten past the first day. This has a mixed effect on the movie itself, which inevitably fights against its own sense of dulled outrage and methodical role-playing. But it's pretty gripping all the same.
  9. Mission: Impossible - Rogue Nation
    The most assured and satisfying of the five so far.
  10. Vacation
    If any of this was surprising or cleverly timed, you'd laugh and then cringe. In Vacation you cringe first and ask questions later.
  11. Irrational Man
    Irrational Man is full of holes. Abe's supposed to be a disillusioned activist, yet that side of him is so half-assedly developed, it's as if Allen himself didn't believe it.
  12. Southpaw
    Does it succeed? Sort of. It helps if you don't mind your boxing movies made up of massive granite chunks of previous boxing movies.
  13. Unexpected
    The central relationship in Unexpected ebbs and flows, and even when you sense the edges smoothed over to the point of blandness, the actors keep it on track.
  14. Paper Towns
    Q's adventure is a passionate and creative retelling of a time-honored tale, and one that will appeal to audiences both old and new to the genre. Hughes would approve.
  15. Pixels
    Pixels is a blast of energetic fun.
  16. Trainwreck
    Trainwreck is all kinds of funny, and like any talent showcase worth its salt, the tone of the humor adjusts to suit the talents on screen.
  17. Ant-Man
    The plot's the same old thing. Mad, mad, mad, mad science; imminent apocalypse; parent/child issues; blah blah blaggidy blah. The tone of Ant-Man, however, is relatively light and predominantly comic.
  18. Self/less
    Self/less hews closely enough to the premise of the 1966 John Frankenheimer thriller "Seconds" to qualify as an unofficial remake. Then again, anyone who remembers that one is not in the target audience for this one.
  19. Amy
    Amy stays above the tabloid fray, up to a point. Kapadia hasn't made a groundbreaking documentary; it's more like a classy, high-end edition of "Behind the Music."
  20. The Gallows
    Lofing and Cluff certainly know the found-footage ropes, and the tropes; we'll see if their next project reveals a little more imagination.
  21. Terminator Genisys
    Everything's at stake yet nothing comes to much in Terminator Genisys.
  22. Magic Mike XXL
    It retains the original's sunny, democratic vibe and refreshing lack of meanness, as well as Soderbergh's interest (if not his precision) in keeping several of the ensemble members in frame, interacting, without a lot of routine close-ups.
  23. The Overnight
    I like it up to a point — not a specific story point, but to a certain degree throughout. It's engaging but thin, and I couldn't buy screenwriter Brice's idea of Charlotte's antidote for her 10-year itch.
  24. Eden
    The Coens' film is a wisenheimer, a mordant black comedy. Eden is utterly different, more muted and humane in tone. It won't be enough for some audiences.
  25. Infinitely Polar Bear
    It's worth seeing, on balance, simply for what Mark Ruffalo does in a hundred different, discrete, telling ways as he creates a character who was a capital-A Character, outlandish one minute, scarily unpredictable the next.
  26. Ted 2
    I laughed three or four times, mostly at verbal byplay since director MacFarlane struggles when it comes to timing, filming and cutting sight gags.
  27. Heaven Knows What
    Heaven Knows What, will not appeal to the majority of casual moviegoers. Likewise, I have no doubts regarding the film's remarkable achievement.
  28. Dope
    The tone of Dope is very interesting — funny, but rarely stupid-funny.
  29. Inside Out
    The life of Riley is not exotic; her troubles are not unique. But they are rendered with serious imagination by Docter and company.
  30. Testament of Youth
    Vera, as written and as acted, remains a sympathetic and watchful conduit, a peg, rather than a vividly realized engine. We see everything she endures, and all she sacrifices. Yet we are not left with lingering impressions beyond the facts of a fascinating life.
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