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. Rocket Science
    Doesn't quite work but is worth seeing anyway.
    • 44 Metascore
    • 25 Critic Score
    Rush Hour 3
    Rush Hour 3 is DOA.
  3. Stardust
    It's the big stuff that doesn't really work, at least well enough to be called special.
  4. In Paris
    Dans Paris is a cohesive, albeit sometimes creepy, fabric of disparate modes and colors.
    • 50 Metascore
    • 38 Critic Score
    The Ten
    The Ten changes tone every few minutes, ranging from lowbrow gross-out gags to elevated language to a big, sloppy musical number.
    • 55 Metascore
    • 50 Critic Score
    Becoming Jane
    The solid cast and honest Austen scholarship make Becoming Jane fitfully entertaining. But it's hard for the film to escape the shadow of Austen's superior talent when it filches so much from her books.
    • 74 Metascore
    • 50 Critic Score
    La faute à Fidel!
    Gavras’ ending makes it clear where her sympathies lie. In the process of building to that conclusion, she overplays her metaphor a bit, but still, political tracts rarely come this sweet and sympathetic.
  8. The Bourne Ultimatum
    This is the most satisfying thriller of the year, capping the Bourne trilogy.
  9. Bratz
    The most horrifying film of 2007, Bratz is based on the popular line of collagen-lipped, doe-eyed slut-ette dolls and their male companions, "the boys with a passion for fashion ... and the Bratz!" (In other words, they're bi-curious.)
  10. El cantante
    Turns out to be nothing special. Well, the music is. The storytelling is not.
    • 43 Metascore
    • 50 Critic Score
    Hot Rod
    Sure, it's funny, mainly because it's utterly absurd and meandering.
  12. I Know Who Killed Me
    The film suggests Lohan probably (allegedly) should've gone after her agent the other night, not the mother of an ex-personal assistant.
  13. Molière
    Moliere transforms into a fuller piece whenever Morante takes center stage.
  14. No End in Sight
    May be the best and saddest film of the year so far.
  15. No Reservations
    After seeing No Reservations you'll be hungry for a really top-flight meal. And, to go with it, a better film.
  16. The Simpsons Movie
    It's hard not to like it. And in both senses of the phrase, America keeps asking for it.
  17. This Is England
    A small film that packs a big wallop.
  18. Arctic Tale
    Watching bear cubs and walrus pups struggling to survive against increasingly tough odds, and on ever-slushier ice shelves, has both its shamelessly manipulative side and its dramatically necessary side, as handled here. This proves one thing: Unlike global warming, some stories really do have two sides.
  19. The Devil Came on Horseback
    It is not an easy film to watch, nor should it be. It is, however, beautifully made. Annie Sundberg and Ricki Stern, the co-directors, wrangle their information and lay it out clearly, vividly and with a sharp sense of focus.
  20. Cashback
    A modest but engaging film that mixes hormonal surges with art-house ingenuity.
  21. Hairspray
    Less polished but more fun than "Dreamgirls." Both are drag revues at heart, one funny, the other serious. I prefer the funny one.
  22. I Now Pronounce You Chuck & Larry
    The film is half rutting goat, half preacher.
  23. Sunshine
    Sunshine is near-classic modern science fiction, hobbled only by a chaotic final reel and some casting missteps in the white-male department.
  24. Interview
    The film's emotional claustrophobia may not be for everyone.
  25. My Best Friend
    For all its silliness and negligibility--a finale involving the Parisian "Who Wants to be a Millionaire?" is one of its sillier, more negligible elements--My Best Friend is an amusing reinvention of "The Odd Couple."
  26. Talk to Me
    Talk to Me has a great subject and a great actor working in tandem, reminding audiences that once upon a time media personalities used to fight The Man, not be The Man.
  27. Time
    Kim evokes everything from "Seconds" to "Nip/Tuck" here, but his sureness of touch and lack of melodrama make the themes pertinent and vivid. A heartening step up from Kim's previous film, "The Bow."
  28. Harry Potter and the Order of the Phoenix
    Destined to be remembered as the one that handed the screen Harry his first kiss. Like much of the film, the smooch comes and goes briskly, without a lot of fuss.
  29. Introducing the Dwights
    The movie successfully balances the sentimental and bittersweet only about half the time. The performances are intelligent and well-crafted, and Blethyn is unmistakably a star performer, attracting attention like a vortex. But she's somewhat miscast here.
  30. Rescue Dawn
    Rescue Dawn is Herzog's first English-language screenplay, and this is part of its problem: The hushed conversations between prisoners sound only fitfully idiomatic. Also--crucially--Herzog can't find a way to make his own big finish feel authentic, even if things did happen roughly this way.
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