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. Drag Me to Hell
    Raimi knows how to modulate his technique, as with the coolly controlled morality tale "A Simple Plan," but he's a firm believer in the power of an active, expressive camera, as well as the value of insinuation.
  2. Departures
    The acting is quite deft, if extremely broad, but screenwriter Kundo Koyama seesaws uncertainly between jokes and grief.
  3. What Goes Up
    Nothing in this movie is properly focused; everyone keeps talking about a character whom we never meet and does not matter; the tone keeps slipping around from indolent satire to thudding sincerity, and the Challenger shuttle disaster backdrop is queasy-making at best, offensive at worst.
  4. Night at the Museum: Battle of the Smithsonian
    Nothing elegant about Adams here, but she's terrific -- a sparkling screen presence. Her Earhart hoists this big-budget sequel above the routine.
  5. Easy Virtue
    Easy Virtue may be a bauble, as Larita's described at one point, but Coward's examination of hypocrisy demands real skill. The style should suggest "whipped cream with knives," as Stephen Sondheim once described "A Little Night Music." Elliott's film is more like curdled milk with a spork.
  6. Angels & Demons
    Astonishingly, Angels & Demons IS the same sort of lumbering mediocrity.
    • 55 Metascore
    • 75 Critic Score
    The Brothers Bloom
    The jaunty, energetic first 10 minutes of The Brothers Bloom are easily the best first 10 minutes of any film I've seen this year. And while the succeeding hour and 43 minutes doesn't hold up to the movie's opening scenes, the whole endeavor is still an awfully good time.
  8. Management
    Padding disguised as a feature-length screenplay, adapted from Belber's one-act.
  9. Summer Hours
    It all comes together as formidably detailed and easy-breathing craftsmanship.
  10. Next Day Air
    Next Day Air is sort of bracing, though it isn't very good: Its total lack of dramatic and comic bearings, to say nothing of a point, keeps you wondering about the next fatality, in a half-interested way.
  11. Outrage
    The film's pretty good about saying why so much in the culture encourages a political life in the closet, either tacitly or directly. But even The Advocate had a problem with calling it a brilliantly orchestrated conspiracy.
  12. Star Trek
    Breathlessly paced bordering on manic, but propulsively entertaining.
  13. Battle for Terra
    All in all? A curious preachment yarn for peace, one which makes you wonder if the filmmakers couldn't wait to get to the climactic aerial dogfights.
  14. Ghosts of Girlfriends Past
    Despite my McConaughey resistance I got more guilty chuckles from Ghosts of Girlfriends Past than "Failure to Launch" or "Four Christmases."
  15. The Merry Gentleman
    It's a very small film, undermined by a puttering rhythm and Pinter-worthy pauses in the second half and a resolution neither satisfyingly oblique nor conventionally pleasing.
  16. Revanche
    Revanche has an unusual rhythm: Once it leaves the grotty urban despair behind for the deceptive calm of the countryside, it relaxes and explores the character’s interior lives.
  17. Three Monkeys
    Certain things in Three Monkeys can only be described as brilliant.
  18. X-Men Origins: Wolverine
    A chaotic headbanger, X-Men Origins: Wolverine is saved from pure flat-footed blockbuster franchise adequacy by six things, three of them on Hugh Jackman's left hand, three on his right.
  19. Il Divo
    Instead of a modern classic, able to travel the globe with ease, Il Divo is merely a wonderfully cast, tonally assured achievement, with a uniquely strange tour de force at its core.
  20. The Informers
    This one's a certifiable soul-sucker, dining out on its characters' venalities while wagging a finger at the horror, the horror.
  21. The Soloist
    This is the story of a complicated and fraught friendship, and I'm not sure Wright and his collaborators figured out how much Hollywood baloney and how much naturalistic grunge to apply to it.
  22. State of Play
    State of Play isn't a kinetic fireball like the second or third "Bourne" installment; like its protagonist, it's defiantly old school, "Three Days of the Condor" bleeding into "All the President's Men."
  23. 17 Again
    The movie's heart, of course, is with poor addled Mike and his kids, but 17 Again works only fitfully to make the Efron/Perry character worth a story.
  24. Every Little Step
    It's a big ice cream sundae, this one -- not great documentary filmmaking but tasty all the way.
  25. Anvil! The Story of Anvil
    I can't imagine Anvil! not appealing to anyone interested in any aspect of showbiz, and the drug of fame, and the lives people lead in pursuit of the next fix.
  26. Hannah Montana: The Movie
    I like the end-credits sequence best, which has nothing to do with hoary complications or the miseries of stardom or the magical spellbinding powers of a cheap wig.
  27. The Mysteries of Pittsburgh
    A coming-of-ager that nearly slaughters you by minute 30 with the relentlessness of its protagonist's voiceovers.
  28. Observe and Report
    There's about 10 good minutes out of 85.
  29. Adventureland
    A sweet, sharp coming-of-age romance, Adventureland is a little warmer, a little funnier and a lot more truthful than the last 20 or 30 of its ilk. Especially its Hollywood ilk.
  30. Sugar
    This one slice of the American experience amounts to one of the best films of the year.
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