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 1.2 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. Thor: The Dark World
    So how's this "Thor" sequel? It's fairly entertaining. Same old threats of galaxy annihilation, spiced with fish-out-of-water jokes.
  2. How I Live Now
    Imagine a Judy Blume rewrite of Cormac McCarthy's "The Road," and you'll end up somewhere in the ashen yet uplifting vicinity of How I Live Now.
  3. Dallas Buyers Club
    McConaughey is first-rate throughout, on top of every dramatic and blackly comic situation, even when the character isn't on top of anything.
  4. La Camioneta: The Journey of One American School Bus
    Documentary filmmakers can make any number of rookie mistakes with their first features. Casting too wide a net is one of the most common. "La Camioneta" avoids that pothole, beautifully.
  5. Blue Is the Warmest Color
    Even with its limitations it's one of the necessary films of 2013.
  6. Ender's Game
    A bit of a tweener, neither triumph nor disaster, a war-games fantasy with a use-by date of Nov. 22, when the new "Hunger Games" movie comes out.
  7. Last Vegas
    A genial "Hangover" for the AARP set, Last Vegas is roughly what you'd expect, or fear, but a little better.
  8. About Time
    Enjoy the love in your life, and don't squander it: That's all Curtis is selling here, really. With Gleeson and McAdams at the forefront, About Time has a beguiling pair of rom-com miracle workers helping him close the sale.
  9. All Is Lost
    The film has a quietly relentless quality. Redford is fully engaged and vital. I'll leave it to others to read greatness into All Is Lost. It's enough that it's good.
  10. The Counselor
    All that — and yet, dull. Why?
  11. Escape Plan
    Stupid but fun.
  12. Carrie
    The acting's strong; in addition to Moretz and Moore, Judy Greer is a welcome presence in the Betty Buckley role of the sympathetic gym instructor. But something's missing from this well-made venture. What's there is more than respectable, while staying this side of surprising.
  13. The Fifth Estate
    We're snowed by a great deal of intersecting and crisscrossing information in The Fifth Estate, and Singer's script lacks organizational skills. I can relate. But that doesn't make parsing this busy film, or — crucially — its true, contradictory feelings about Assange any easier.
  14. 12 Years a Slave
    While this is very much a McQueen picture, with visual flourishes and motifs unmistakably his, the historical urgency and staggering injustice of the events keep McQueen and company utterly honest in their approach and in their collective act of imagining Solomon Northup's odyssey to hell and back.
  15. Romeo & Juliet
    The most excellent and lamentable tragedy Romeo and Juliet has been turned into a film that is lamentable without the "excellent" part.
  16. Captain Phillips
    It is, however, just about perfect in its wrenching emotion, expressed by an actor clearly up to the challenge of acting in a Paul Greengrass docudrama — which is to say, acting with as little capital-A Acting as possible.
  17. Parkland
    Those looking for some human interest in their human interest may be equally frustrated.
  18. Gravity
    It's a nerve-wracking visual experience of unusual and paradoxical delicacy. And if your stomach can take it, it's truly something to see.
  19. Enough Said
    Despite the movie's limitations, it's very satisfying to watch Louis-Dreyfus and Gandolfini enjoy each other's company on screen, as characters, because it's satisfying to watch them enjoy each other's company as performers.
  20. Rush
    It's big, brash and dramatically it goes in circles. The first two may be enough for most people, especially if they're into Formula One racing, to overlook the third.
  21. Don Jon
    Behind the camera, Gordon-Levitt shows serious promise.
  22. Salinger
    Salerno blows little more than smoke in this one, especially near the end, when we get to the maybe-probably-sort-ofs regarding the maybe-probably-possibly full vault of unpublished work.
  23. C.O.G.
    Modest and good-looking, the film starts as dark comedy and ends in pathos. Director Alvarez makes the Oregon scenery a character unto itself.
  24. Wadjda
    In the scenes between mother and daughter in their apartment, the world outside no longer judging every action, new worlds open up. And therein lies the cinema's role in our lives: It reveals what is concealed to others.
  25. Prisoners
    Some will take it and like it, all the way to the heart of darkness. Others may feel they've been jacked with, manipulated. Villeneuve collaborates with unusual sensitivity with his actors. The script operates on one level; the interpreters on another, higher level.
  26. The Muslims Are Coming!
    The movie's fun, a lot of it having nothing to do with its specific subject.
  27. Insidious: Chapter 2
    The sequel's not bad; it's not slovenly. Some of the jolts are effectively staged and filmed, and Wan is getting better and better at figuring out what to do with the camera, and maneuvering actors within a shot for maximum suspense, while letting his design collaborators do the rest. But Leigh Whannell's script is a bit of a jumble.
  28. Una Noche
    The depiction of Havana neither sugarcoats nor grunges-up the harsh reality. The movement intoxicates, but the situations are tough.
  29. Riddick
    It's fun! Extremely violent, cleverly managed fun, full of eviscerating aliens.
  30. The Patience Stone
    It is a tour de force for the actress, needless to say. Iranian Golshifteh Farahani is wonderful in the role.
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