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. The A-Team
    Until a leaden third act, it IS reasonably entertaining.
  2. Joan Rivers: A Piece of Work
    A gripping documentary.
  3. Winter's Bone
    The way Lawrence captures a young woman's fear and resolve, often non-verbally, well … this is a considerable talent well on her way to a great career. It's for performances like this that moviegoers find themselves taking a chance on a title that doesn't have a fast-food tie-in.
  4. Splice
    The sexual component to Splice pushes the story in provocatively eerie directions.
  5. Get Him to the Greek
    Extremely raunchy, Get Him to the Greek is also very funny
  6. Killers
    Haven't we seen the oh-my-gosh-my-spouse-is-secretly-an-assassin-but-you-know-a-nice-one routine once too often?
  7. Prince of Persia: The Sands of Time
    It's sort of fun, certainly more so than the "National Treasure" pictures, as well as less manic (a little less) than the recent "Mummy" films.
  8. Micmacs
    For me, the mechanics or even the (excellent) designs are not enough. Jeunet's archness keeps conventional empathy or engagement at bay, and by design maintains a tone of artificiality.
  9. Agora
    Agora has everything except real drama.
  10. Sex and the City 2
    I enjoyed these characters more when they were rich, rather than obscenely rich, when their self-involvement and life crises had one foot on planet Earth -- and when they weren't all gussied up like Mae West in "Sextette."
  11. Solitary Man
    Still, it's a pleasant surprise about an unpleasant guy brought to life by an ingratiating paradox, a movie star who has turned into a wily character man.
  12. Robin Hood
    What strikes me about the new Robin Hood, directed by Ridley Scott, is how its preoccupations and sensibilities lie almost precisely halfway between the derring-do of the 1938 film and the harsh revisionism of the '70s edition
  13. Letters to Juliet
    She delivers a solid and easy star performance. Some young performers lack a relatable quality; Seyfried has it, even with those old-school, big-screen peepers.
  14. Just Wright
    The reason Just Wright works is simple. It finds ways to let familiar characters move around inside a familiar premise like living, breathing, likable human beings.
  15. Looking for Eric
    From director Ken Loach, England's longtime disciple of social realism, comes his most audience-friendly picture yet
  16. Daddy Longlegs
    I don't know if what the Safdies endured growing up was akin to what audiences experience in Daddy Longlegs. But I'm very glad they survived to make a very good film about it.
  17. Iron Man 2
    A movie like this can handle a large character roster, but it helps if the story retains clean lines and a sense of propulsion. Iron Man 2 sags and wanders in its midsection
  18. Babies
    But by not "saying" ANYTHING about the lives behind all the lovely, easygoing footage of infants making their way to their first steps and beyond, Babies feels a tad dodgy (and repetitive) by the hour mark.
  19. Mother and Child
    Garcia's calm, steady guidance behind the camera, along with his nicely finessed faith in a very good cast, makes Mother and Child a fuller and more satisfying example of this storytelling style than we've seen lately.
  20. A Nightmare on Elm Street
    By today's standards, it is only medium-bloody, though it's more than usually grim, its young protagonists sullen enough to qualify for the "Twilight" movies. Yet it affords precious little sadistic pleasure, partly because it "dares" to lay out more directly the pedophiliac demons plaguing Freddy the serial killer.
  21. The Good Heart
    As robust and clever an actor as Cox is, he can't make Jacques any less of a blowhard; Kari's wit simply doesn't come through in English, at least with this script.
  22. Harry Brown
    The tragedy is that the performance comes to nothing. Nearly everything else in the film is vile.
  23. Anton Chekhov's The Duel
    It takes something like a miracle to unlock the magic in his exquisite aggravations, the essence of the human comedy. This film is indeed something like a miracle.
  24. The Losers
    The movie is ALL revenge, all the time
  25. The Back-up Plan
    A weak romantic comedy.
  26. Kick-Ass
    It may well be a hit, but me, I'm waiting for "Iron Man 2."
  27. Death at a Funeral
    Gets by for many of the same reasons "Date Night" got by, all of them performance-related.
  28. Exit Through the Gift Shop
    The brilliantly untrustworthy documentary Exit Through the Gift Shop reminds us that a film can start out in one direction and then change course so radically, it becomes an act of provocation unto itself.
  29. The Joneses
    Duchovny and Moore have their moments; they're like two preening sharks working on commission.
  30. The Perfect Game
    The film is perfectly mediocre, which is heartbreaking, not heartwarming.
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