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. 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especially near the end, when we get to the maybe-probably-sort-ofs regarding the maybe-probably-possibly full vault of unpublished work.
  2. 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.
  3. 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.
  4. 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.
  5. The Muslims Are Coming!
    The movie's fun, a lot of it having nothing to do with its specific subject.
  6. 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.
  7. Una Noche
    The depiction of Havana neither sugarcoats nor grunges-up the harsh reality. The movement intoxicates, but the situations are tough.
  8. Riddick
    It's fun! Extremely violent, cleverly managed fun, full of eviscerating aliens.
  9. The Patience Stone
    It is a tour de force for the actress, needless to say. Iranian Golshifteh Farahani is wonderful in the role.
  10. Afternoon Delight
    It's an up-and-down movie, honest one minute and a fraud the next, but you stick with it mainly because of Hahn.
  11. My Worst Nightmare
    Huppert, Poelvoorde and Dussullier are experts all.
  12. Getaway
    Terrible but, in its squealing way, sporadically fun-terrible.
  13. Ain't Them Bodies Saints
    Since he popped up and broke hearts in Altman's "McCabe and Mrs. Miller," Carradine has learned a wealth of practical acting knowledge about how much and how little need be done at any given moment. He provides the on-screen link to those earlier days and brings the natural authority a director craves in a performer.
  14. Closed Circuit
    The satisfactions of the film are in seeing what a screen full of excellent players can do to steer you around the holes. Bana never quite seems enough to anchor a picture for me; all the same, he acquits himself sharply here.
  15. Drinking Buddies
    The skillful quartet at the center of Drinking Buddies reveals the weaknesses in the material.
  16. The World's End
    The movie is madly, wonderfully at odds with itself.
  17. The Canyons
    The Canyons may not work, and the sex (as well as the synthesized glop on the soundtrack) may be tragically unhip, but it was made by a director who still cares.
  18. Kick-Ass 2
    It's no better, no worse and essentially no different from the jocular, clodhopping brutality of the first one.
  19. Prince Avalanche
    Here's a funny, poignant oddball of a movie, existing on a galaxy far, far away from the likes of "Pacific Rim" or "World War Z" or anything whose computer-generated actions speak louder than words.
  20. Paranoia
    There's nothing wrong with Paranoia that a stronger director, livelier leading actors and several hundred fewer narrative conveniences wouldn't cure.
  21. Jobs
    The dialogue comes straight out of "The Benny Goodman Story." That look, someone says to a staring, pausing Kutcher, "tells me you're on to something big." Nobody talks in this movie; everyone speechifies or take turns sloganing one another to death.
  22. Lee Daniels' The Butler
    The Butler tells a lot of different stories, some more effectively than others.
  23. The Spectacular Now
    The Spectacular Now is rare: a coming-of-age movie featuring a teenage couple about whom you actually give a rip.
  24. Lovelace
    Cameo appearances by everyone from James Franco (as Hugh Hefner, putting the moves on Lovelace at her own premiere) to Hank Azaria (as a film "investor") dot the grimy landscape.
  25. Planes
    Planes has practically no visual distinction, it's a complete knockoff, but I think it'll get by with the kids.
  26. Elysium
    With most films, that'd be enough to cut out half the potential American audience. But effective, evocative science fiction, which Elysium is, has a way of getting by with an ILA (Insidious Liberal Agenda) in the guise of worst-case dystopia.
  27. We're the Millers
    When Jason Sudeikis and Ed Helms appear in the same movie there's a significant threat of clean-cut sameness. Mediocre material makes them like two halves of the same comic actor: Ed Jason Helms-Sudeikis.
  28. 2 Guns
    The actors — including Patton as Bobby's DEA colleague and sometime fling — cannot act what is not there. But with Washington, Wahlberg, Olmos and Paxton around jockeying for dominance, the standoffs have their moments.
  29. Blackfish
    The film may be depressing. But even with a terrible, watery musical score, it's also good.
  30. The To Do List
    Uber-raunchy but pretty interesting as sex comedies go.
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