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. 88 Minutes
    The preposterous 88 Minutes is a serial killer movie starring Al Pacino's festival of hair.
    • 58 Metascore
    • 50 Critic Score
    The First Saturday in May
    The result is a feeling of standing in an OTB with lots of races from lots of places--too many stories calling for attention--instead of the Kentucky Derby, which for two minutes each year focuses the sports world like a laser.
    • 57 Metascore
    • 50 Critic Score
    The Forbidden Kingdom
    It's perhaps best suited for genre vets who can be satisfied with spot-the-reference games and Chan and Li's chemistry, or for undiscriminating kids who'll enjoy the "Karate Kid" vibe. But it's less a culmination of Li and Chan's careers than a passable footnote to better things.
  4. Forgetting Sarah Marshall
    It's worth seeing just for the banter between Segel and Hader, which recalls the peak conversational riffs from "Knocked Up."
  5. The Life Before Her Eyes
    Beautiful, horrifying, exasperating and just plain weird.
    • 45 Metascore
    • 25 Critic Score
    Where in the World Is Osama Bin Laden?
    Morgan Spurlock is a living, breathing cautionary tale. Take a good, long look, kids: This is what happens when society validates really annoying people.
    • 49 Metascore
    • 75 Critic Score
    Dark Matter
    The film does a fine job of displaying the contrasts between these tense, formalized Chinese students and the faux populist American academics.
  8. Smart People
    Church is most at home in his character’s skin; aside from the game but strident Quaid, all the leading players are ideally cast. It’s the script that isn’t ideally cast.
  9. Street Kings
    I enjoyed parts of Street Kings but I didn’t believe one thing about it, and I couldn’t get past Reeves’ unsuitability to his role. He may someday play a cop on the edge convincingly, but the edge needs to be sharper than this.
  10. The Visitor
    Jenkins and The Visitor”make lovely music together. It’s a case of a veteran character actor slipping on a leading role like the most comfortable pair of pants in the world.
  11. Chaos Theory
    The performances and Marcos Siega’s direction put a pleasing sheen on the material.
  12. Bra Boys
    An odd, one-sided documentary that nevertheless opens a window onto Australian class struggles and a world weirdly familiar and exotic simultaneously.
  13. Body of War
    It’s uneven and, in many instances, avoidably cheesy.
    • 75 Metascore
    • 88 Critic Score
    Young@Heart
    An exuberant, affectionate documentary.
  15. Flight of the Red Balloon
    A gem made by a filmmaker who loves life, and knows how to capture its ebb and flow and sweet complication.
  16. Leatherheads
    Sidelined by a script that plays like an imitation of another era’s artifacts. It’s an oxymoron: a mild screwball romance.
  17. My Blueberry Nights
    Isn’t eye candy; it’s a drool-worthy slice of eye pie.
    • 55 Metascore
    • 75 Critic Score
    Nim's Island
    For all its limitations, the film still looks terrific. Flawless CGI and forays into animation keep things visually lively, and Nim’s enviable life is likely to hook kids into the story early and keep them entranced.
  19. Shine a Light
    Shine a Light is one of those lions-in-winter affairs, and Jagger, who has a body fat count of negative 67, can still dance like a maniacal popinjay, and Richards still looks like a satyr who has stayed up all night every night of his adult life.
  20. Tuya's Marriage
    It is a fine and plaintive experience, more modern-day folklore than ethnographic study, and a wonderfully assured piece of cinema.
  21. Flawless
    I enjoyed seeing Joss Ackland as well. The veteran character actor with the world’s lowest voice plays the diamond company chairman, and when he rumbles out orders, it’s like Sensurround never left us.
  22. Run, Fatboy, Run
    One of the problems with the new comedy Run, Fat Boy, Run is that it’s not English enough, even though its antagonist is a thoroughly detestable American go-getter.
  23. 21
    21 isn’t pretentious, exactly, but it’s damn close, and in trying to whip up a melodramatic morality tale the film becomes an increasingly flabby slog.
  24. Chapter 27
    By the end of this modest, strange venture, Leto made me believe it was worth being forced to hang out on the sidewalk with this man, if only to get a creeping sense of what that might’ve been like.
  25. My Brother Is an Only Child
    It’s a history lesson, a look at ’60s strife inside a corner far removed from our more familiar American images of that era. It’s also brightly performed, from sullen, boorish, yet charismatic Scamarcio to the instinctive, charming, infuriating characterization by Germano.
  26. Priceless
    The fetching comedy Priceless”(“Hors de Prix”) weighs about as much as its star, Audrey Tautou, but like Tautou’s pleasingly craven heroine it knows exactly what it’s doing.
    • 61 Metascore
    • 63 Critic Score
    Stop-Loss
    While Stop-Loss doesn’t pack anything like the emotional wallop of her previous film, the movies do share Peirce’s clear-eyed refusal to answer difficult questions with simplistic answers.
  28. Alexandra
    It's unlike any other war film, in any language.
    • 76 Metascore
    • 75 Critic Score
    Shotgun Stories
    Director Jeff Nichols lets the action unfold slowly following an impromptu insult, but the escalation of hatred and pain feels natural.
  30. Drillbit Taylor
    "Superbad” got a deserved R rating for its unmitigated and gleeful raunch. Drillbit Taylor is cleaner in mouth but far uglier in spirit. Wilson and Mann do what they can to tone it up, but their scenes belong to a different film, and a fresher one.
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