Chicago Tribune's Scores

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For 7,614 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: 5,117 out of 7614
  2. Mixed: 1,475 out of 7614
  3. Negative: 1,022 out of 7614
7614 movie reviews
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  1. 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.
  2. 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.
  3. 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.
  4. 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.
  5. 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.
  6. 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.
  7. Dope
    The tone of Dope is very interesting — funny, but rarely stupid-funny.
  8. 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.
  9. 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.
  10. Results
    Some may find Results a little light on plot (it is). But with the Smulders character, we're treated to a refreshingly dimensional female lead. Kat isn't one of those aggravating Type A Katherine Heigl cliches. Nor is she a mere attractive doormat. She's prickly, a little lost, but running her own show, and on the road to something better.
  11. The Farewell Party
    This is straight-up commercial comedy, low-keyed diversion, and while it can't hold a candle to recent, dark-comic Israeli achievements such as Joseph Cedar's "Footnote," the actors more than save it.
  12. Me and Earl and the Dying Girl
    The chief limitation of Me and Earl and the Dying Girl is an old story: However touching, Cooke's Rachel is there mainly to prop up the sweetly messed-up young male lead, and then to quietly guide him toward adulthood.
  13. Jurassic World
    Bailed out by a few good jolts, Jurassic World gets by, barely, as a marauding-dinosaurs narrative designed for a more jaded audience than the one "Jurassic Park" conquered back in 1993.
  14. Love & Mercy
    It's the best musical biopic in decades.
  15. Spy
    The fun of Spy comes in watching the right actors mess with their own images, blithely.
  16. Entourage
    Piven's performance basically made the series, and to the degree the new film works, which is a little, he makes that too.
  17. Aloha
    Despite a blue-chip cast, Aloha is just frustrating. It can barely tell its story straight, and Crowe's attempt to get back to the days of "Jerry Maguire" and "Almost Famous" is bittersweet in ways unrelated to the narrative's seriocomic vein.
  18. San Andreas
    I enjoyed large chunks of San Andreas, largely because the actors give it a full load of sincerity, and there's some bizarrely effective comic relief thanks to Hugo Johnstone-Burt and Art Parkinson as Brits who picked the wrong week to visit the Bay Area.
  19. I'll See You in My Dreams
    It's a relief — even though the movie isn't much — to see Danner in a leading role on screen again.
    • 60 Metascore
    • 75 Critic Score
    Tomorrowland
    At times Tomorrowland plays like such a throwback to those sweetly naive, low-rent, live-action Disney matinees of the '60s and '70s, George Clooney is like a Fred MacMurray with gravitas, gruff and grizzle, predictably warming up to a young dreamer (a terrific Britt Robertson) of cheer and vision.
  21. Pitch Perfect 2
    It's a two-hour lesson in how to act like a frenemy to your alleged friends. And it's not funny enough.
  22. Mad Max: Fury Road
    The creator of the original "Mad Max" trilogy has whipped up a gargantuan grunge symphony of vehicular mayhem that makes "Furious 7" look like "Curious George."
  23. Welcome to Me
    The movie is small, but the actors make it seem larger, like binoculars turned around the right way.
  24. About Elly (2009)
    Uncommonly good ensemble storytelling.
  25. Far from the Madding Crowd
    I can't help but wish this new Far From the Madding Crowd came with the thrill of interpretive discovery, the way Jane Campion gave Henry James' "Portrait of a Lady" a good shaking-up or, more conventionally, the way James Ivory mainstreamed E.M. Forester in "A Room With a View" and "Howards End."
  26. Avengers: Age of Ultron
    Entertaining as much of Avengers 2 is, especially when it's just hanging out with the gang in between scuffles (the "Guardians of the Galaxy" lesson, learned), Whedon’s picture meets expectations without exceeding them.
  27. Welcome to New York
    The film, a sleek and oddly moving study in the cost of debauchery, has its gleeful excesses.
  28. Little Boy
    Director Monteverde, whose previous feature, "Bella," came out nine years ago, clearly meant his film to lift up everyone and condescend to no one, least of all Pepper and Hashimoto. But Little Boy comes off as a picture-postcard fake.
  29. The Water Diviner
    Crowe's feature directorial debut, The Water Diviner, stems from an honest impulse to dramatize ordinary people who honor their dead. Yet the results are narratively dishonest and emotionally a little cheap.
  30. Adult Beginners
    The relative success or failure of Adult Beginners, directed with a steady, nonjudgmental hand by Ross Katz, depends on how funny you find Kroll. I find him funny-ish.
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