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. Smile 2
    Smile 2 goes in a newish direction, to frustrating mixed results — but it’s a mixed bag you can respect because it’s not hackwork and it’s trying new things.
  2. Super/Man: The Christopher Reeve Story
    Super/Man should introduce many people, young and older, to a fine actor’s work and, more importantly, to what Reeve accomplished for himself and so many others in the life he was dealt.
  3. The Apprentice
    It’s an actual, conflicted and sporadically insightful film, dramatizing what made Trump Trump at an especially impressionable period in his rise.
    • 63 Metascore
    • 75 Critic Score
    Piece By Piece
    An at-times deliriously entertaining biopic.
  5. The Wild Robot
    Recently making its world premiere at the Toronto International Film Festival, The Wild Robot already has been pumped up into the contradictory “instant classic” stratosphere. I understand the enthusiasm, or most of it, I guess, especially given the mellow, less photorealistic, more painterly visual landscapes, and Sanders’ assured tear-duct massage technique.
  6. The Outrun
    Saoirse Ronan does subtly spectacular work in every phase of this character’s odyssey.
  7. Saturday Night
    In 2024 a movie about a live-TV countdown to destiny, once upon a time in ’75, needs more than moderately skillful reverence, and reaction shots of people cracking up at colleagues, to show us what it might’ve been like to be there.
  8. Joker: Folie à Deux
    So who’s up for a strange, disarming musical? As much as I hated the first one, this one works for me.
  9. A Different Man
    With a crucial performance from Adam Pearson to complement Stan’s fine work, the film is well worth seeing. It is, in fact, a serious joke about the act of seeing.
  10. In the Summers
    A lot happens, some of it life-changing, some of it heartrending, parts of it (in story terms) a bit rushed or on-the-nose. The actors, unerringly well-cast, more or less take care of those last parts.
  11. All Happy Families
    The script’s conflicts and obstacles get their tidy share of the available 90 minutes. I’d love to see a two-hour version of Rose’s film, aired out to some degree, with a more unpredictable rhythm and some conversations allowing us to hang out with these people without worrying about advancing the story.
  12. Megalopolis
    Naive, decadent, sluggish, dazzling, touchingly sincere in its belief that “a vital conversation” about the state of our nation can save us, even with barbarians at the gates: There’s something to vex everyone in Megalopolis.
  13. Wolfs
    Does it matter that Wolfs is about literally nothing except itself and its star packaging? Maybe not. On the other hand, Watts hasn’t written a single fleshed-out character. It’s about genre tropes, distilled to minimalist quipping amid maximalist mayhem.
  14. The Substance
    [Moore's] gripping in ways the rest of the picture is not, transcending the thesis points and comic exaggerations simply by playing against the comic extremes and holding a card or two, always, in reserve. She reminds us here how good, and tough, she is at her best, when she gets half a chance.
  15. Speak No Evil
    The actors put it over, and Watkins is a genre filmmaker who believes in using his actors as more than pieces of plot in human clothing. That, I appreciate, with no reservations whatsoever.
  16. Beetlejuice Beetlejuice
    What’s missing is not simply surprise, or the pleasurable shock of a new kind of ghost comedy. It’s the near-complete absence of verbal wit, all the more frustrating since Keaton is ready to play, and he’s hardly alone.
  17. Mountains
    Mountains does what it sets out to do with grace, and a sure instinct for music, color, faces and moments of decision regarding where we’ve come.
  18. Blink Twice
    As an actor (not onscreen here), Kravitz is so effortless, you rarely detect any overt planning or determination in her performances. Her movie’s a different case: a precise visual telling of a tale heading somewhere awful, but also cathartic.
  19. Alien: Romulus
    The movie doesn’t quite stick the landing, piling on while lingering at the gate for an extra 10 minutes or so. The gore level may not be a shock to fans of Alvarez’s previous features, but for the casual franchise fan, well, it’s gory. But the best of Alien: Romulus reminds us that some franchises are more open to a variety of directorial approaches than others.
  20. The Instigators
    The Instigators isn’t that bad, but it’s lazy, low-stakes stuff. Everyone on screen has done and been better.
  21. Elizabeth Taylor: The Lost Tapes
    Always vivid on screen, that quality also existed in her life and self-expression offscreen.
  22. Kneecap
    If Kneecap has a somewhat pushy sense of broad comedy or, in the final third, some predictable dramatic beats, its visual invention wins the day, because it’s so comfortably allied with the songs of protest and release.
  23. Trap
    Good, bad or middling, very little of Shyamalan’s works can be described as tightly plotted, well-sprung suspense.
  24. Sing Sing
    Sing Sing exerts a strong pull on the heartstrings — but without the hard sell or the crafty, manipulative exertion.
  25. Made in England: The Films of Powell and Pressburger
    This is an elegant and eloquent love letter from one master filmmaker to two of his prized idols.
  26. Deadpool & Wolverine
    Reynolds retains his skittery comic timing, and Jackman (while tonally a little lost here) certainly put in his time with a personal trainer. But there isn’t a single shot in Levy’s film that flows excitingly into the next one.
  27. Twisters
    The biggest distinction between the first “Twister” and the new “Twisters” is one of conscience: This time, Kate, Javi and Tyler wrestle to varying degrees with how much of their time should be spent on their own pursuits versus helping tornado victims clean up after the latest round of misery.
  28. Last Summer
    It’s an unnerving portrait in forbidden desire and matched wills, sometimes acting as one barely controlled organism, often at fierce odds.
  29. Fly Me to the Moon
    The script never quite feels itself; it feels like contradictory impulses playing out in shuffle mode. And the scale of the movie does the putative romance no favors.
  30. Touch
    I admire this film’s craft. And I would’ve appreciated a messier, inner-life impulse to go with it.
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