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. The Iron Claw
    It is so much more than just melodrama — it is myth-making on a grand yet intimate scale, a film that attempts to express a small sliver of the Von Erich legend, and beautifully does justice to Kevin’s personal journey.
  2. Anyone But You
    Anyone But You isn’t terrible, or a travesty. It’s eh-notherthing ehltogether.
  3. Wonka
    While Wonka overfills its slate with two or three escalating climaxes, the throwaway verbal jokes en route keep the contraption humming.
  4. Fallen Leaves
    Fallen Leaves, by contrast, strikes an adroit balance between dark and light, stoicism and optimism. There’s a stealth buoyancy at work.
  5. Poor Things
    This film may be fantastical, outré, at times bizarre, and sexually frank. But ultimately, Poor Things is a traditional heroine’s journey forging its own singular path. That Bella achieves a fully embodied sense of personal liberation makes it a truly radical — and feminist — fairy tale.
  6. The Boy and the Heron
    What can we impart to future generations? Can we trust them to keep the balance of the universe? These big questions drive the meaning and the purpose of The Boy and the Heron, yet another masterpiece from Miyazaki that helps us to see the beauty of life around us and contemplate the future of the universe more profoundly.
  7. Mr. Monk's Last Case: A Monk Movie
    If the central mystery is unsatisfying, Shalhoub remains the reason to watch. He imbues this difficult, ridiculous man with so much humanity in a performance that is both clenched and silly.
  8. Maestro
    It doesn’t duck the messy, unresolved contradictions, the way so many movies about famous artists do.
  9. Renaissance: A Film by Beyoncé
    As a visual capture of a tour supporting an album, “Renaissance” may not hold a candle to her remarkable, 65-minute visual album “Lemonade” that appeared, more or less out of nowhere, in 2016. But it’s holding an entirely different sort of candle, or rather two candles. One’s a concert movie; the other’s a how-I-made-the-concert-and-this-movie movie.
  10. Candy Cane Lane
    I realize writing a new Christmas screenplay can’t be easy; to get made, it must check a certain number of predictable boxes. Murphy is game, but only in a few moments with Ross — small-talk scenes not dependent on forced wonderment or reaction-shot gaping — do they appear to relax and enjoy the company.
  11. Rustin
    As written, “Rustin” does a pretty good job of making the (re-)introductions. As acted, the movie transcends pretty-good.
  12. Napoleon
    Napoleon was many things, and with this dutiful career highlights reel, Phoenix and his director deliver glancing blows to as many aspects of the warrior-tyrant-genius-fool-lonely heart as cinematically possible in two and a half hours.
  13. The Hunger Games: The Ballad of Songbirds and Snakes
    "Songbirds and Snakes” takes its job SUPERseriously, with more solemnity than imaginative excitement.
  14. Thanksgiving
    I’d place Thanksgiving halfway between “fair” and “good.” Inevitably, Roth can’t keep his baser storytelling and filmmaking instincts at bay forever.
  15. May December
    Yes, May December exists in an uncomfortable realm. Haynes isn’t afraid of that, and American movies are better for it.
  16. All Dirt Roads Taste of Salt
    While there are plenty of influences afoot, ranging from Jenkins to Terrence Malick to Toni Morrison, “All Dirt Roads” is guided, fragment by fragment, by a new director’s way of seeing and listening to a woman’s life — in all its puzzle pieces.
  17. The Marvels
    Too often the movie’s franchise mechanics and green-screen overload have a way of dragging “The Marvels” into generic sequeldom. But the stars give us something to hang onto, even if Larson — so good in so many films — has yet to master the useful trick of looking neutral yet invested in her many, many reaction shots.
  18. Dream Scenario
    Like a dream, you’re left with thoughts and impressions to mull over for a long time. These sticky images and profound ideas lodge themselves in place, even if you’re not quite sure they all fit together.
  19. Priscilla
    Priscilla, the movie, exists in a state of hushed wonderment, magical one minute, bittersweet the next.
  20. The Killer
    A sleek, tight, fastidiously executed nothing.
  21. What Happens Later
    What Happens Later is so deeply heartfelt, and so beautifully performed, that it stirs something within — a hope, not necessarily for an airport rendezvous, but for a moment of healing, the kind that everyone desires and everyone deserves.
  22. The Holdovers
    This movie’s religion, if it has one, is the Church of Performance, and Giamatti, Sessa, Randolph and company make it worth attending.
  23. The Royal Hotel
    Green has made two very different, extraordinarily efficient and compact movies in a row. That, too, may look easy but is anything but — unless you’re a filmmaker and writer of her particular gifts.
  24. Five Nights at Freddy's
    It’s an odd one, indecisive about its tone and intentions.
  25. Killers of the Flower Moon
    Scorsese has rendered a tragic, forlorn piece of American history, indebted equally to classical Hollywood craftsmanship and the director’s own obsessions with honor, guilt, family, criminal codes and America’s centuries of greedy bloodshed.
  26. Taylor Swift: The Eras Tour
    Even if Taylor Swift: The Eras Tour represents a triumph of novel distribution more than a triumph of the concert-movie form, its impact will be fascinating to chart.
  27. The Wonderful Story of Henry Sugar
    In the end, both Dahl’s stories and Anderson’s movies require a few common but difficult skill sets of the actors. Wit. Technical precision. Verbal facility. Adroit timing. And some fun, even if it’s tightly prescribed and carefully confined to a certain place in a fastidiously arranged, ever-shifting picture frame.
  28. The Exorcist: Believer
    The Exorcist: Believer has its moments, but we’ve had a half-century of this stuff. And the filmmaker in charge has to show us something new; there’s more to life, and moviegoing, than coasting on cherished memories of projectile vomiting and head-swiveling.
  29. Fair Play
    I’m not sure the story’s resolution entirely serves what comes before it; it’s not predictable, exactly, and it avoids turning into a different sort of genre just for thrills, yet Domont’s writing and direction are both skillful enough to make me want a few extra minutes in the final round.
  30. The Creator
    Even with its story hiccups — and by the end, they’re practically contagious — The Creator creates images of the future you have not seen before, at least not quite this way. The movie is messy and knotty but co-writer and director Gareth Edwards has yet to make an uninteresting piece of science fiction.
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