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 1.5 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: 5,106 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. Night Catches Us
    Surely the gentlest American film ever made about home-grown revolutionaries.
  2. The Tourist
    A facsimile of a masquerade of a gloss on "Charade," and on all the lesser cinematic charades that followed in the wake of director Stanley Donen's 1963 picture.
  3. Harry Potter and the Deathly Hallows: Part I
    With that kind of financial imperative it's something of a miracle the Potter films have been, on the whole, good. One or two, very good. One or two (the first two), less good. This one's good.
  4. Black Swan
    Is Black Swan high-minded? I'm happy to say: No. It is extremely high-grade hokum, which is to say it offers several different and combustible varieties.
  5. Skyline
    Their (The Brothers Strause) effects are pretty good, on a fairly limited budget. And that's about all you can say for Skyline.
  6. 127 Hours
    127 Hours never calms down. You suspect you're only getting half the truth of what this ordeal must've been like.
  7. Morning Glory
    If the romantic comedy Morning Glory clicks with audiences, the McAdams factor surely will be the reason why.
  8. For Colored Girls
    Aiming for a piece with the raw impact of "Precious," on which he served as executive producer, he (Perry) ends up with 134 minutes of misjudged intensity.
  9. Fair Game
    Liman's sensibility isn't sophisticated enough to tease out the nuances of what must be a pretty interesting marriage; the movie is more about texture and surfaces and surface tensions.
  10. The Girl Who Kicked the Hornet's Nest
    Larsson's leading characters have less to do in this wrap-up chapter. As Larsson wrote it and screenwriter and exposition-condenser Ulf Rydberg adapted it, it's a rather wobbly blend of courtroom drama and loose ends tied, albeit rather leisurely.
  11. Paranormal Activity 2
    Demons of mediocrity, be gone! Here we have a shrewd sequel a touch better than the original.
  12. Conviction
    This is an inspirational true story worried less about turning dramatic screws than earning its feeling through character.
  13. Tamara Drewe
    It's easy to watch.
  14. Hereafter
    Morgan and Eastwood are scrupulous in keeping their notions of the afterlife as general and inoffensive as possible. They have no religious or spiritual worldview to sell. As I say: Many admire this film to no end. I found its use of recent tragic events, including the London underground bombing, to be more than a little cheap.
  15. Stone
    Genuinely odd in its mixture of bluntness and indirection, screenwriter Angus MacLachlan's study in biblical temptation is saved from its own heavy-handedness by a fine quartet of actors.
  16. Grizzly II: Revenge (1983)
    It’s a pity Grizzly II: Revenge isn’t giddy-bad, the way Tommy Wiseau’s “The Room” delights so many. But it’s here, it’s seriously disoriented and disorienting.
  17. Rhino Season
    Rhino Season unapologetically favors poetry over prose, layering its images and time frames in elegantly wrought detail. At times the visual landscape feels fussy. [12 Oct 2012, p.C3]
    • Chicago Tribune
  18. RED
    Red starts repeating itself and spinning its wheels and looking for an ending, well before the ending arrives. The actors have considerable fun with it, though.
  19. Jackass 3-D
    It's reductive, insanely violent slapstick, but that's the phenomenon in a nutshell.
  20. Secretariat
    Secretariat isn't bad but it's precisely what you'd expect.
  21. Life as We Know It
    The movie begins with a tragedy and eases into a more interesting blend of drama and comedy than we've gotten in this genre lately.
  22. It's Kind of a Funny Story
    The result is both a success and a disappointment. It's Kind of a Funny Story, divided into neat little daylong chapters in Craig's stay, lacks the staying power and bittersweet layering of "Half Nelson" and "Sugar."
  23. Inside Job
    Matt Damon narrates, and I do wish the narration didn't end on such a generalized, throw-the-bums-out note, over footage of the Statue of Liberty.
  24. The Social Network
    Is director David Fincher's film the stuff of greatness? Not quite. But the picture is very, very good.
  25. Let Me In
    The original was a very good thriller. The new one is simply a good one.
  26. Wall Street: Money Never Sleeps
    Has its satisfactions, thanks mainly to a cast skillful enough to finesse what is effectively two films sharing the same screen.
  27. Buried
    This exercise in racked nerves makes most of the year's thrillers look like flailing maniacs by comparison.
  28. Enter the Void
    As pure, outlandish outlaw cinema it's undeniable.
  29. Howl
    It's well-crafted, but I wish the film showed us an additional dimension or two of the central figure, who once said the great challenge in writing, any kind of writing, is "to write the same way you are."
  30. The Town
    I love Pete Postlethwaite as a rule, but here - as a murderous florist who pulls all the strings - he overacts his key scene so badly it's as if he did it on a dare. Also, Jon Hamm may rule on "Mad Men," but here he's stuck as a rather dimwitted FBI agent who's two beats behind the action, always.
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