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. Do Not Expect Too Much From the End of the World
    It is a bracing and chaotic and memorable experience.
  2. Shirley
    At one point King, as Chisholm, resists the advisors’ pleas to simplify her “messaging” (was that word in circulation 52 years ago?) by saying: “I am not leaving out the nuance!” In “Shirley,” the top-shelf actors aren’t, either. Even if their material does.
  3. Godzilla x Kong: The New Empire
    Whole sections of “Godzilla X Kong” shove the humans off-screen for many minutes at a time. Few will complain.
  4. Frida
    What “Frida” does, it does well. It also does too much, probably, crowding its subject with expressive add-ons.
  5. Ghostbusters: Frozen Empire
    Just about everybody on screen in Ghostbusters: Frozen Empire lightens the load. But sometime around the eighth or ninth round of expository mumbo jumbo concerning the ectoplasmic nightmare about to happen, the movie starts moving sideways, not forward.
  6. Love Lies Bleeding
    I wish the busting-loose part went further in “Love Lies Bleeding.” But Stewart, subtle and fierce, and O’Brian, sinewy and fiercer, prove exceptional at hitting two or three notes at once, and never obviously.
  7. Kung Fu Panda 4
    Black and Awkwafina and Hoffman do their jobs, but the jokes have a way of arriving like jokes, and sounding like jokes, but not quite being jokes. This is an action movie foremost, which is fine.
  8. They Shot the Piano Player
    The film basically and improbably works, even with some limitations.
  9. About Dry Grasses
    It’s beautiful work, and not just because it’s beautiful.
  10. Drive-Away Dolls
    Only Viswanathan, wonderful in “Hala” and others, comes close to locating a tone that makes some human sense inside this wildly uneven material, careening all across the character-to-caricature spectrum.
  11. Dune: Part Two
    Not a zingy marvel of narrative momentum. But it's not trying for that.
  12. The Taste of Things
    There’s life, lived with serenity and purpose and, yes, plenty of money and property, in the lives depicted in Hung’s film. Binoche and Magimel see to it in every scene, with or without utensils.
  13. Players
    Players is a perfectly fine — occasionally better-than-fine — romantic comedy starring well-known TV actors who know their way around this kind of material. It’s light and bouncy. There’s plenty to like here.
  14. Bob Marley: One Love
    All worldwide musical phenomena carry with them some enigmatic quality that encourages, deliberately or not, a kind of adoring guesswork on behalf of fans. In Bob Marley: One Love, both as written and acted, Marley himself remains more cipher than enigma.
  15. Madame Web
    It plays like a bland, third-season Marvel series as watched on a 12-year-old TV set playing in the wrong dramatic aspect ratio, which I realize isn’t a real thing. But now it is.
  16. How to Have Sex
    Already, McKenna-Bruce can work wonders in terms of assured technique and complicated emotions and she’s magically right as Tara.
  17. Anselm
    You can go into Anselm knowing roughly as much as I did (very little, or less), and Wenders’ latest nonfiction portrait of an artist and their environment will work, effortlessly, because it’s just plain beautiful.
  18. Argylle
    It’s lousy, and a frantic bore, squandering its on-screen talent and making bland visual hash of its preening, recreational slaughter.
  19. Last Things
    If all this sounds difficult to track, well, sort of. But not really. It’s a flow, not a plod, and Stratman isn’t after conventional linear storytelling.
  20. The Teachers' Lounge
    What the writing and filmmaking sometimes overdo, the actors mitigate beautifully. Benesch is a powerhouse of subtlety and focus, and the camera stays as close as possible to her watchful, at times disbelieving eyes.
  21. I.S.S.
    It’s a surprisingly trenchant story for what seems to be a slight genre thriller, but then again, genre thrillers can be the best vessels for these kinds of messages.
  22. Origin
    It is, I suppose, educational; it’s also vibrant and adroit and searching as human drama.
  23. The Book of Clarence
    The more this filmmaker can learn about matching his musical taste and invention with cinematic tonal range and control worthy of those sounds, the harder we’ll fall for whatever he does next.
  24. Mean Girls
    The core of Fey’s storyline hasn’t changed, even if technology has. It embraces, with trace elements of sincerity, the juicy comic extremes of mean-girldom, complete with an 11th-hour repudiation and a reminder to be nicer. Before it’s too late.
  25. All of Us Strangers
    All of Us Strangers is a lovely way to begin 2024, not because it’s especially seasonal — though one key scene takes place around Christmastime — but because it’s just so beautifully acted and tenderly observant.
  26. Night Swim
    Night Swim comes from a crafty 2014 short directed by Blackhurst and McGuire, not quite three minutes in length minus end credits. Apples and oranges, I suppose, but the short gets more done in terms of atmosphere and rhythmic wiles than the full-length version. Still: These filmmakers have both a past and a future in evocative horror.
  27. Ferrari
    I wouldn’t mind seeing Ferrari again sometime just for Cruz, and for a few of Mann’s most gratifying examples of classical Hollywood technique, done his way. The movie reinvents no wheels. But it sure knows how to film ‘em.
  28. The Color Purple
    It’s nearly impossible not to respond to The Color Purple and Celie’s odyssey, in any version. But it’s also possible to wish for a movie that felt more like real life, and real lives, in all their emotional colors, without so much showbiz.
  29. Migration
    It is a family-friendly, seasonal, nondenominational holiday movie option, but it’s more fun to pick out what makes this a Mike White project, and his influence gives it a slight edge over the rest, making Migration a worthwhile journey.
  30. American Fiction
    The movie we have is a movie that works, blending seriocomic domestic material with the larger, more pointed social observations about white liberal guilt, code-switching Black authors (Issa Rae is most welcome as Monk’s primary foil) and a lot more.
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