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. 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."
  2. 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.
  3. The Social Network
    Is director David Fincher's film the stuff of greatness? Not quite. But the picture is very, very good.
  4. Let Me In
    The original was a very good thriller. The new one is simply a good one.
  5. 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.
  6. Buried
    This exercise in racked nerves makes most of the year's thrillers look like flailing maniacs by comparison.
  7. Enter the Void
    As pure, outlandish outlaw cinema it's undeniable.
  8. 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."
  9. 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.
  10. Catfish
    Catfish is fascinating. At the same time, it emits a condescending, pitying odor.
  11. Never Let Me Go
    The film is a success. It works. Greatness eludes it, yes. But greatness eludes almost every film adaptation of a major novel, which we must remember when confronted by a good one.
  12. I'm Still Here
    Rarely has the question of a documentary's artifice mattered less. I genuinely hated this picture, almost as much as I've admired Phoenix's work in everything from "Gladiator" to "Walk the Line" and even the hackneyed but affecting "Two Lovers."
  13. Legendary
    Legendary is so intent on paying heartfelt tribute to dogged young athletes that it neglects basic story needs.
  14. Machete
    It's outlandishly gory and bluntly political, the latter being more interesting than the former. It wears out its welcome, though, long before la revolucion and sequels are promised.
  15. Going the Distance
    I liked the movie mainly for Barrymore. The way she handles the crucial, early "I love you" moment (he's saying it to her, and the camera shows us what she's thinking), you think: This is one canny actress.
  16. A Woman, a Gun and a Noodle Shop
    The exhausting slapstick violence is the film's chief variation, and it's no fun at all.
  17. The American
    The movie is a paradox. It's ostentatiously restrained. You cannot say Corbijn lacks rigor. You can, however, say that when a talented director's approach too precisely mirrors the tightly calibrated performance strategy of his leading player, a movie risks stalling out completely.
  18. Mesrine: Killer Instinct
    So what is it? Primarily it's a showcase for Vincent Cassel, who dines out on the role and won a Cesar award (the Gallic Oscar) for his efforts.
  19. Takers
    Noisy, unsubtle, but it gets the job done.
  20. The Switch
    Around the halfway point it starts getting interesting and the people who put it together are at least working in a realm of reasonable intelligence and wit and respect for the audience.
  21. Lottery Ticket
    This movie's good. It's fast, deftly paced and funny.
  22. Nanny McPhee Returns
    Too much of the contrasting comedy in Nanny McPhee Returns is shrill, laden with routine computer-generated effects and pounded into dust by James Newton Howard's shut-up-already musical score.
  23. Mao's Last Dancer
    A dramatic true story has been made into a diffident biopic.
  24. The Tillman Story
    It is enraging yet nuanced, an elusive combination for any documentary.
  25. Soul Kitchen
    The funky, enjoyable Hamburg-set comedy Soul Kitchen is a celebration of co-writer-director Fatih Akin's home base, a spacious, moody city of apparently limitless industrial warehouse space - like Chicago.
  26. Eat Pray Love
    The very elements of Eat Pray Love that helped make it a success in 40 languages -- the breezy prose, the relentless sorting-through of dissatisfactions, a steady stream of intriguing sights -- turn the film into a travelogue with a little spiritual questing on the side.
  27. Scott Pilgrim vs. the World
    At its best, Wright's film is raucous, impudent entertainment.
  28. The Expendables
    At one point Rourke delivers a monologue about his time in Bosnia, and the conviction the actor brings to the occasion throws the movie completely out of whack. What's actual acting doing in a movie like this?
  29. The Other Guys
    For a good hour, this is the picture Kevin Smith was trying to make with "Cop Out."
  30. Step Up 3-D
    It boasts a generous exuberance and, as entertainment products go, it's surprisingly sweet.
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