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. Damsels in Distress
    The film treats depression and despair and young love with just enough gravity so the movie doesn't float away completely.
  2. Bully
    The best Hirsch's film can do, in the end, is remind us that bullying means more than we admit, and its effects aren't always immediately clear, even to loved ones.
  3. The Cabin in the Woods
    The Cabin in the Woods is pure mechanics, as if the shadowy Dharma Initiative of "Lost" switched agents and found itself at the center of a brain-bending ensemble drama.
  4. The Three Stooges
    Absurdly brutal slapstick is a tough thing to sustain across a feature. I spent a lot of The Three Stooges staring, not laughing. For me this was a stare-out-loud affair.
  5. Jiro Dreams of Sushi
    We meet a variety of interdependent characters, from tuna vendors to rice experts, all in thrall to Jiro and his sons. I really wish Tokyo were closer.
  6. American Reunion
    Now and then the movie rouses itself to deliver. If you go to American Reunion - and many will, if they harbor fond memories of the first one, and if they can find a sitter - you should stay through the end credits.
  7. Musical Chairs
    Settles for being simple, familiar and ineffective, though I suspect it'll warm a few hearts.
  8. The FP
    This one's just OK, but at midnight, after who knows what, OK might be enough.
  9. The Kid with a Bike
    This is the first film the Dardennes shot in the summertime. Excellent choice of seasons. I'm not sure I could've handled Cyril's travails without it, or without de France's smile.
  10. The Raid: Redemption
    The Raid is maniacal in its pacing and assault tactics. It's also, absurdly, rated R. Fantastic. I love that a film this gory secured the same Motion Picture Association of America rating as "The King's Speech."
  11. The Hunger Games
    The games have begun, and so far they're pretty gripping.
  12. Casa de mi Padre
    More than anything Casa de mi Padre is an exercise - and to those who find it more clever than I do, a valid one - in tone-funny, as opposed to joke-funny.
  13. Footnote
    The main thing with Cedar's film, I think, is to approach it not as a farce, not as a drama, not as a mystery, not as any genre in particular. It's a comic nightmare, in the vein of the Coen brothers' "A Serious Man," and Cedar proves masterly at playing the stakes for real.
  14. 21 Jump Street
    The drug humor in 21 Jump Street carries its own distinction, in that it's actually humor.
  15. Once Upon a Time in Anatolia
    The wondrous cinematography is by Gokhan Tiryaki. It is not an easy picture. Not many masterpieces are.
  16. Salmon Fishing in the Yemen
    The film's occasional toe-dips into real-world politics, sectarian conflict and the horrors of war are demure and unruffling. What's missing is a point of view beyond Hallstrom's interest in making his actors look as attractive as possible.
  17. Friends with Kids
    A smooth but frustrating third feature with an extremely good ensemble cast.
  18. John Carter
    John Carter isn't much - or rather, it's too much and not enough in weird, clumpy combinations - but it is a curious sort of blur.
  19. A Thousand Words
    In A Thousand Words the camera stays about two inches from Murphy's hyperactive face, and you start to see the strain and desperation in the actor's eyes.
  20. Bullhead
    Schoenaerts is often affecting and just as often scarily intense. The film's intensity, by contrast, beams on and off.
  21. Dr. Seuss' The Lorax
    You couldn't accuse the film of practicing what it preaches: careful stewardship of a precious resource.
  22. Act of Valor
    The action beats come straight out of the video game "Call of Duty." And when you have real SEALs placed in a picture that lives and dies on the same old first-person-shooter aesthetic, you have a film divided against itself.
  23. Crazy Horse
    One Crazy Horse staffer, also female, is asked on camera by a visiting journalist to define the cabaret's notion of eroticism. To "suggest," she says. To "seduce."
  24. Rampart
    In relation to the well-made and sensitive confines of "The Messenger," Rampart required a more unruly visual approach. Beginning and ending with Harrelson, this sophomore effort is full of malignant life.
  25. The Secret World of Arrietty
    Disney TV star Bridgit Mendler brings an effective if limited friendliness to Arrietty; Will Arnett and Amy Poehler are relatively restrained as her parents; Carol Burnett runs through a career's worth of vocal flourishes and aural panic attacks as the housekeeper.
  26. This Means War
    Pure, witless discombobulation.
  27. W.E.
    Madonna stayed married to director Guy Ritchie just long enough to absorb his most grating cinematic instincts - shooting in every style, in an addled, shuffle-mode, falsely glamorizing way until all is chaos. And, astonishingly, boredom.
  28. Safe House
    Director Espinosa shoots virtually everything in tight but wobbly close-up, and the human and vehicular combat often brakes right at the edge of visual incoherence. Just as often the brakes give out completely.
  29. Journey 2: The Mysterious Island
    Hutcherson spits his lines out as quickly as possible, which you appreciate, because the way the likable Johnson wrestles with his lines ("It looks like the liquefaction has tripled overnight!") you think, well, it's a living.
  30. The Vow
    The Vow is agreeable enough. It may be puddin'-headed but it's not soul-crushing.
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