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. 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.
  2. 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.
  3. 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.
  4. 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.
  5. Love & Mercy
    It's the best musical biopic in decades.
  6. Spy
    The fun of Spy comes in watching the right actors mess with their own images, blithely.
  7. Entourage
    Piven's performance basically made the series, and to the degree the new film works, which is a little, he makes that too.
  8. 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.
  9. 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.
  10. 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.
  12. 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.
  13. 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."
  14. Welcome to Me
    The movie is small, but the actors make it seem larger, like binoculars turned around the right way.
  15. About Elly (2009)
    Uncommonly good ensemble storytelling.
  16. 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."
  17. 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.
  18. Welcome to New York
    The film, a sleek and oddly moving study in the cost of debauchery, has its gleeful excesses.
  19. 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.
  20. 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.
  21. 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.
  22. Monkey Kingdom
    Even though the film shows very little of the rough stuff, it's still fairly traumatizing. By the end you may feel like seeing a documentary about a more fair-minded and evenhanded treatment of a society's citizens.
  23. Clouds of Sils Maria
    By design, the dialogue from the (fictional) play comments directly on the central, shifting power relationship in the film, sometimes elegantly, sometimes a little awkwardly.
  24. Ex Machina
    Alas, the movie cannot resolve its story in any sort of surprising or truly fresh way. Where's a good old-fashioned deus ex machina capper when you need it? It's worth seeing nonetheless.
  25. True Story
    True Story is a case of a well-crafted film, made by a first-time feature director with an impressive theatrical pedigree, that nonetheless struggles to locate the reasons for telling its story.
  26. Broken Horses
    Broken Horses raises the question of what is cockamamie, and what is cockamamie and outlandish and ridiculous yet a perfectly swell time for those very reasons. This one's just cockamamie without the swell part.
  27. The Longest Ride
    Even when Eastwood and Robertson, pleasant enough company, threaten to float off the screen, The Longest Ride glides along and delivers its reheated comfort food by the ton.
  28. The Salt of the Earth
    Is what we see grief porn or an epic, careerlong study in the best and worst we can find on Earth? See the film and decide for yourself.
  29. While We're Young
    As Cornelia's revered documentary filmmaker father, a crusty truth-teller in the Frederick Wiseman mold, Charles Grodin provides a master class in minimalism.
  30. Woman in Gold
    There's really no other word for what Helen Mirren is doing in certain reaction shots, out of subtle interpretive desperation: mugging. She's mugging. She is a sublimely talented performer, and this is material with fascinating implications, and I doubt there's a moviegoer in the world who doesn't like Helen Mirren. But even the best actors need a director to tell them to tone it down.
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