Chicago Tribune's Scores

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:
7613 movie reviews
  1. It has the air of an officially sanctioned tribute rather than a probing study, but it's stirring all the same.
  2. But by the end, when Gandolfini and Sarandon sing their sweet, hesitant little duet, it’s clear Turturro knew where he was going all along.
  3. It sets a tone, all right. A lot of gamers (sorry, "filmgoers") may well enjoy writer-director Michael Davis' ultraviolent lark. It's not meant to be taken seriously. But films like this are worth taking seriously because they're genuinely cruddy and hollow and, yes, vile.
  4. Not-funniest comedy of the year so far.
  5. Director and co-writer Eytan Fox is going for a sexually democratic, politically aware variation on story themes familiar to "Sex and the City" viewers. (At one point Lulu is referred to as "Miss Israeli Carrie Bradshaw.") Surprisingly, it works, and the entire cast is excellent.
  6. The title of The Hunting Party doesn’t evoke much in particular. “War Correspondents Gone WILD!” would be more like it if the film itself--messy, but fairly stimulating--had more of the scamp in its soul.
  7. If you’re a Chicagoan, if you have just a smidgen of interest in the city’s arts scene and if you’ve been around a while, there’s no way to be objective about I Want Someone to Eat Cheese With.
  8. The more you like Leone's work the more you'll likely respond to To's latest. Which is odd, considering Exiled is a gangster picture by strict definition.
  9. Freshman Orientation is not incompetently made. Nor is it badly acted. But there’s not a fresh idea in it, and everyone on screen seems to be in a different comedy.
  10. Ladron plays like a telenovela without the melodrama. The characters are brightly drawn archetypes, and the humor's very broad. But the tone is nice and brash.
  11. Lapica isn't yet enough of a writer or director (or an actor) to make the dramatic arc unpredictable in any way. It may be effective for some as therapy. It is far less so as cinematic storytelling.
  12. Frame by frame, Crudup is fascinating.
    • 80 Metascore
    • 75 Critic Score
    It's like watching a slow multi-car pileup on an icy road: Everyone can see what's about to happen, but nobody can stop it.
    • 45 Metascore
    • 38 Critic Score
    This self-important movie can't save itself from being disheartening.
    • 40 Metascore
    • 38 Critic Score
    Illegal Tender echoes "A History of Violence," another gritty film that explores escaping a criminal past. But the vast vapidity behind Illegal Tender's ill-conceived story line is far harder to overcome.
  13. Ruthlessly skilled as Atkinson is, the Bean persona of generic, maniacally grinning ineptitude owes most of its appeal to seeing just how far an actor can pull a face without pulling a muscle.
  14. They should've thrown everything away except the title and the outline. That's what the "Devil Wears Prada" creative team did, and that film turned out a lot richer than this one.
  15. The film is easy to take, though it must be said: It's almost 100 percent blather.
    • 54 Metascore
    • 50 Critic Score
    Young audiences will enjoy her journey from surly to empowered, and as countless visitors to Brookfield Zoo can attest, there's nothing like watching dolphins. So a star for Schroeder and a star for the title players.
  16. Intimacy is graphically portrayed, down to recurring moments in a bathtub, including a memorable duet trumpet rendition of “The 1812 Overture.” Chop off a star if you’re not up for highly experimental cinema.
    • 60 Metascore
    • 75 Critic Score
    One of the most intelligent and unnerving horror films in recent memory.
  17. Death at a Funeral is lethal farce, combining hints of "The Lavender Hill Mob," doses of Joe Orton and a smidgen of the Farrelly brothers' scatology in its mix.
    • 71 Metascore
    • 63 Critic Score
    By the end, despite the film’s beautiful cinematography, persuasive subjects and ironically upbeat soundtrack, we just feel bludgeoned.
  18. In this teen-boy universe, sex is everywhere and nowhere, it's oozing out of every pop culture pore and every other insane boast, yet the idea of figuring out how to talk to girls without turning into a yutz remains elusive.
  19. If it gets people thinking about which light bulbs they buy and their current gas mileage and such, then it's good to have it in the world. It is, however, a panicky blur as documentaries go.
  20. Enough with the snatching, already.
    • 83 Metascore
    • 100 Critic Score
    Gordon's documentary proves better than 90 percent of the manufactured stories out this summer. One can breathe a sigh of relief that it was done right and not cobbled into another bad fictional comedy.
    • 68 Metascore
    • 75 Critic Score
    Engaging, intelligent and enjoyable.
  21. Despite original touches, Cut Sleeve Boys is mostly a mediocre gay-themed movie plagued by tired humor and slapdash filmmaking.
  22. By accident or design the film is seriously unbalanced.

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