Chicago Tribune's Scores

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:
7601 movie reviews
  1. It's roughly as realistic as Georges Melies' "A Trip to the Moon," of course. But revisiting our old pals (one of whom is played by an actor who is no longer with us) and watching them survive one unsurvivable collision or plunge after another, continues against the odds to have a walloping charm all its own.
  2. There's a delayed-secret hitch in the narrative that hijacks the movie, for better or worse. You don't have to believe any of it to enjoy a lot of it, however.
  3. It's a mystery why two bona fide comic stars, working very, very hard to keep this thing from tanking, couldn't pressure their collaborators for another rewrite or three.
  4. The movie is pretty droll, and it agitates for cross-species friendship; its aggressively packaged heart-tugging elements come with an interplanetary friendly resolution. Followed by a dance party.
  5. Engrossing and weirdly funny.
  6. From its first moments, the new documentary The Hunting Ground instills a sense of dread that is very, very tough to shake.
  7. The actors are more or less saving this franchise's bacon. Insurgent is a tick or two livelier than the first one.
  8. Director Morel brings some style and speed to the proceedings, though I found The Gunman increasingly numbing in the carnage department. Compared with someone like Neeson, Penn's avenging angel is a less relatable fellow.
  9. '71
    Swift and exciting, with no taste for the usual war movie heroics, first-time feature film director Yann Demange's film belongs on a short list of immersive, rattling, authentic fictions right next door to the fact of survival inside a war zone.
  10. Directed, frantically, by Jaume Collet-Serra, written by Brad Ingelsby, Run All Night promises a sprint punctuated by a lot of gunfire, and bleeding, and bodies. Mission accomplished.
  11. Branagh's regular composer, Patrick Doyle, delivers a persistent dribbling stream of forgettable mood music, and that's too bad; most of the scenes are acted so well, you don't want anything competing with them.
  12. It's a strange, fascinating exercise in what Joel Coen once described as "tone management," job No. 1 for any director.
  13. A misjudgment from metallic head to titanium toe.
  14. The movie's smooth to the point of blandness, but its faces really do tell a story. And having Gere's silverly mane share the same film with Strathairn's is almost too much fabulous hair for one diversion.
  15. Screen chemistry between two individuals isn't really a pass/fail proposition. There are degrees involved. But let's pretend otherwise and say yes, Smith and Robbie pass, barely, with less than flying colors and in a pretty dull movie.
  16. Betzer's title suggests a hardy spirit and the resilience of childhood; the story, which unfolds in elliptical but often intriguing chapters, indicates the healing might be a little more complicated and difficult.
  17. Like the great, bittersweet Thomas Dyja account of Chicago's 20th century, "The Third Coast," Hogtown is hip to both the glories and the disgraces any great city can claim.
  18. A small, shrewd movie about large, messy emotions and regrets. It is a grown-up work about people who grow up the hard way, leaving one heart in disrepair and the other in reckless forward motion. It's a sad piece, but not maudlin.
  19. Whitman's a wily cross between Janeane Garofalo and Ellen Page and in her scenes with her motivational-speaker single mother (Allison Janney), you sense a better movie lurking in the shadows.
  20. It's nice to see a movie that is, well, nice. Nice but not dumb. It's also a comfortable fit for Costner.
  21. Silly, sadistic and finally a little galling, Kingsman: The Secret Service answers the question: What would Colin Firth have been like if he'd played James Bond?
  22. The surprise, if there is a surprise here, is that the film has found a slyly humorous tone for much of the running time.
  23. The movie doesn't really work, but the jet boots would be the envy of Iron Man, and they allow our hero, unwisely named Caine Wise, to speedskate through the air, leaving pretty little trails of light over downtown Chicago.
  24. It's passable.
  25. See it; see those three performers go to town.
  26. Still Life is a very different story, small and quiet and, unfortunately, airless.
  27. Many will forgive all the contrivances and a muted ending that doesn't quite come off. It is, after all, a submarine picture.
  28. Black or White may not be racist, exactly, but it patronizes its African-American characters up, down and sideways, and audiences of every ethnicity, background, hue and predilection can find something to dislike.
  29. I wish the movie were messier, more surprising. But as with most of what we see, made on small budgets and large: The performances are not the problem.
  30. I wish The Boy Next Door were a different, zingier sort of mediocrity, but whenever it threatens to go the full Zalman King "Two Moon Junction" route, it pulls back and behaves itself and settles for a grindingly predictable series of escalations.

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