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. Pain & Gain
    It's Bay World. And after an hour of Pain & Gain, it felt more like "Pain & Pain."
  2. The Big Wedding
    The movie's own brand of charm has its subset of smarm.
  3. No Place on Earth
    The first-person remembrances hit you where you live, while everything else (including a bland musical score by John Piscitello) often creates the opposite of the intended effect: It keeps you at arm's length from an extraordinary story.
  4. To the Wonder
    Malick is a true searcher, true to his preoccupations and definitions of soulful rhapsody. To the Wonder repeats its central motifs aplenty, yet you may find yourself thinking about life, and living, and love, while sorting through the movie. Even if it drives you nertz.
  5. Oblivion
    Oblivion is odder and less conventional than your average forgettable star vehicle; at times it feels like a five-character play taking place in a digital-effects lab. But there's not much energy to it.
  6. The Company You Keep
    The movie struggles to turn the story into a paradoxical easygoing thriller, befitting the age bracket of its key ensemble members.
  7. Trance
    For a while, Trance had me guessing, and more or less hooked. Then the violence, motivations, double-crosses and fantasy/reality tangles became tedious.
  8. 42
    Treats its now-mythic Brooklyn Dodger with respect, reverence and love. But who's in there, underneath the mythology?
  9. Evil Dead
    Evil Dead offers the core audience for modern horror plenty of reasons to jump, and then settle back, tensely, while awaiting the next idiotic trip down to the cellar beneath the demon-infested cabin in the woods.
  10. Room 237
    I found most of what's actually put forth in the film interpretively ridiculous. But I'm just one theorist among millions, and the film worked for me anyway.
  11. The Place Beyond the Pines
    It is a better, more fully felt and moving picture than "Blue Valentine."
  12. The Sapphires
    The script is corny and cliched and goes the way you expect it to go. But those things never stopped any movie from working with an audience.
  13. G.I. Joe: Retaliation
    The directive behind this sequel, clearly, was non-stop action. Let's think about that phrase a second. Do we really want our action movies to deliver action that does not stop? Ever? I get a little tired of action sequences that won't stop.
  14. Gimme the Loot
    This is a true New York movie, though in its ear and eye for atmospheric beauty it feels more French.
  15. From Up on Poppy Hill
    Your kids may will fall in love with it, if you help them find it.
  16. The Host
    The film may as well be titled "Stephenie Meyer's Waiting Around."
  17. The Croods
    At least there's Cage, who has become an astute voice actor, finding some odd, clever, energetic line readings consistently fresher than The Croods itself.
  18. Spring Breakers
    Starts out like a salacious, rump-centric and blithely bare-breasted hip-hop video and ends up in the realm of scary and inspired trash. That's not meant negatively.
  19. On the Road
    Call it a successful failure. Some movies worth seeing are like that.
  20. Admission
    There's a good movie in this story. The one that got made is roughly half-good.
  21. Upside Down
    Without a strong narrative engine, Upside Down ends up exactly where it shouldn't go: sideways.
  22. Beyond the Hills
    Of all the movies culminating in a rite of exorcism, Romanian writer-director Cristian Mungiu's remarkable Beyond the Hills stands alone.
  23. The Incredible Burt Wonderstone
    The Incredible Burt Wonderstone serves as a reminder that everything in a film has a chance to go wrong before a film begins filming. In other words: It's the script, stupid.
  24. Don't Stop Believin': Everyman's Journey
    The best material in the film is the loosest, capturing the perpetually insecure and overcompensating Pineda in his early concerts, leaping, bouncing, careening around as if every moment in every song were an audition for the next moment in the next song.
  25. Emperor
    This one's likely to vex both history buffs and those who require some drama with their drama.
  26. No
    No succeeds, wonderfully, because it knows how to sell itself. It is cool, witty, technically dazzling in a low-key and convincing way.
  27. Oz the Great and Powerful
    As a series of sights, which movies like these are, Oz the Great and Powerful is more like "Oz the Digital and Relentless." Certainly this is true in its final half-hour, which seemed to me to be all explosions.
  28. Phantom
    Robinson is undone partly by his own workmanlike touch as a writer, and partly by matters of casting. I like Harris, and he's quite moving here, but every time Duchovny reappears the overall energy level sinks to crush depth.
  29. Like Someone in Love
    It's also gorgeously acted by all, and while this may not be one of Kiarostami's finest, the craftsmanship nonetheless is so high, it makes everything else currently in theaters look slovenly.
  30. Jack the Giant Slayer
    The film is ruled by sound and fury signifying an attempt to launch a new franchise.
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