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. 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."
  2. 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.
  3. 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
  4. 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.
  5. 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.
  6. Looking for Eric
    From director Ken Loach, England's longtime disciple of social realism, comes his most audience-friendly picture yet
  7. 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.
  8. 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
  9. 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.
  10. 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.
  11. 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.
  12. 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.
  13. Harry Brown
    The tragedy is that the performance comes to nothing. Nearly everything else in the film is vile.
  14. 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.
  15. The Losers
    The movie is ALL revenge, all the time
  16. The Back-up Plan
    A weak romantic comedy.
  17. Kick-Ass
    It may well be a hit, but me, I'm waiting for "Iron Man 2."
  18. Death at a Funeral
    Gets by for many of the same reasons "Date Night" got by, all of them performance-related.
  19. 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.
  20. The Joneses
    Duchovny and Moore have their moments; they're like two preening sharks working on commission.
  21. The Perfect Game
    The film is perfectly mediocre, which is heartbreaking, not heartwarming.
  22. The Secret in Their Eyes
    What are the odds that the year's most compelling mystery would end up hanging its hat on the year's richest love story
  23. Date Night
    Date Night is a product substantially inferior to the material routinely finessed by Carell and Fey, on their respective hit shows, into comic gold.
  24. After.Life
    Clean, precise and terribly sullen, After.Life is like its female protagonist. It feels stuck between worlds, or genres.
  25. The Square
    A nerve-racking noir from Australia.
  26. La mission
    A satisfying and movingly acted story.
  27. The Last Song
    The Last Song is primarily for teenagers looking for something disposable to cry about for a couple of hours, though I did find it a tad easier to take than "Dear John."
  28. Hot Tub Time Machine
    Accomplishes what "Snakes on a Plane" did not: It offers a merrily idiotic movie to go with its willfully idiotic title.
  29. The Eclipse
    Hinds has been ready for a role of this size and shape for years; it was simply a matter of finding it, and its finding him.
  30. How to Train Your Dragon
    Seeing "Dragon" in 3-D really is a must. Its formidable realm of Vikings and dragons and nerds (oh my!) should be enjoyed to the fullest extent theaters allow.
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