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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    • tbd Metascore
    • 50 Critic Score
    Billy: The Early Years
    It is Templeton's doubts that stir Graham's crisis of faith in 1949 before his first crusade in Los Angeles. And it is that compelling story line that is the movie's saving grace.
  2. RocknRolla
    Ritchie, who shoots and cuts everything in RocknRolla like an ad for a particularly greasy brand of fragrance for men, delivers the beatings and killings in his trademark atmosphere of morally weightless flash.
  3. Religulous
    It's a fairly entertaining bash, with a travelogue vibe established by director Larry Charles ("Borat"). It’s also smug as all hell.
  4. Nick and Norah's Infinite Playlist
    Sollett works easily and well with Cera and Dennings, and lends a touch of awkward realism to what, from a screenwriting perspective, is pure formula.
  5. Blindness
    This film is very different: chilly, methodical, a slave to 10-ton metaphor as opposed to metaphoric provocation.
  6. Rachel Getting Married
    A triumph of ambience, Rachel Getting Married is the first narrative feature since the 1980s from director Jonathan Demme that feels like a party--bittersweet, but a party nonetheless.
  7. Ballast
    Ballast strikes me as one of the few American pictures of 2008 to say what it wants to say, visually and narratively, about a specific situation and part of the country, in a way that transcends regional specifics.
  8. Eagle Eye
    The movie itself is hyperactive and a jumble.
  9. Nights in Rodanthe
    As skillful and charismatic as Gere is, I never get the sense he's really in there, conversing with his fellow actor.
  10. Miracle at St. Anna
    Half the time I wasn't sure what Lee was going for in terms of tone, or style, or focus. It was a tricky assignment to begin with, because McBride's novel, and his screenplay, is part socio-historical corrective, part magical-realist folklore, part wartime procedural.
  11. The Lucky Ones
    The film itself, which has everything from erection jokes to a computer-generated tornado, comes down to a battle between the interpreters and a screenplay riddled with convenience, cliche and well-meaning contrivance.
    • 54 Metascore
    • 75 Critic Score
    Humboldt County
    A slow starter. But what appears to be the cliched "uptight nerd liberated by flighty sprite" tale--done better in films from "Bringing Up Baby" to "Barefoot in the Park"--evolves into something deeper, darker, more resonant.
    • 66 Metascore
    • 75 Critic Score
    Boogie Man: The Lee Atwater Story
    By the end of Forbes' brisk, economical portrait, Atwater has been revealed as a repugnant and pathetic soul--and a political visionary, among the first to fully understand and harness the raw power of voters’ fears.
  14. Ghost Town
    A welcome surprise: a supernatural romantic comedy that works, graced with a cast just off-center enough to make it distinctive.
  15. Igor
    With an uneven and overstuffed script you appreciate the corner-of-the-mouth comments as delivered by Steve Buscemi.
  16. Lakeview Terrace
    One wishes LaBute, a bleak satirist and, at his best, a crudely compelling dramatist, had taken the script and made it his own sort of twisted comedy instead of a routine thriller
  17. Appaloosa
    It's less a western than a loping buddy picture.
    • 62 Metascore
    • 63 Critic Score
    The Duchess
    Taken in isolation from the unsatisfying story, the performances are powerful--Knightley’s vivacious, wounded romantic does a great deal to carry the film on sheer personality, while Fiennes is a subtle master at projecting banked menace through his seeming detached ennui.
  19. Hounddog
    The film is responsible, earnest, well-intentioned and, as it was in Sundance, maddeningly inconsistent.
  20. Burn After Reading
    Clooney remains as game as ever, but the way he and McDormand push the energy here, you feel the strain. Pitt, just floating through, comes off best. He doesn't judge the moron he's playing; he just is.
    • 27 Metascore
    • 38 Critic Score
    The Women
    It's a high-powered cast, but it has painfully little to work with, apart from widely varying humor.
    • 79 Metascore
    • 100 Critic Score
    Moving Midway
    In its 98 minutes, film critic Godfrey Cheshire’s documentary Moving Midway records an amazing architectural feat, and that’s the least of its virtues.
    • 57 Metascore
    • 75 Critic Score
    Towelhead
    Everything about the film is aggressively provocative, in both senses of the word.
  24. A Secret
    The acting is exceptional. If parts of A Secret veer toward soap opera, the ensemble work reduces the suds to a minimum.
  25. Mister Foe
    The film disappoints particularly in relation to "Young Adam," an earlier picture about sexual obsession from writer-director David Mackenzie; this one's more in line with the creamy tones and surface readings of "Asylum."
    • 56 Metascore
    • 63 Critic Score
    Save Me
    Allen and Gant are principals in Mythgarden, a movie production company that promotes gay and lesbian storytelling, and Save Me makes a respectable showing as an early effort.
  27. The Pool
    It's a bit schematic and sweet-natured, perhaps to a fault, yet the faces linger. Smith and his mixture of actors and non-actors remind us that an act of generosity is all it takes to change a life.
  28. I Served the King of England
    The mordant wit and paradoxical melancholic bounce you find in a great many Eastern European filmmakers informs every joke and rosy sexual encounter in the work of Czech writer-director Jiri Menzel.
  29. Traitor
    Problems aside, this is a good, twisty, absorbing work.
  30. Death Race
    Nothing in director Paul W.S. Anderson's schlock drawer--prepares you for the peppy, good-time nastiness that is Death Race.
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