Chicago Tribune's Scores

For 5,546 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 2.1 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Capote
Lowest review score: 0 Bobby Jones: Stroke of Genius
Score distribution:
5546 movie reviews
    • 54 Metascore
    • 75 Critic Score
    Hotel Transylvania 3: Summer Vacation is a visual splendor, from the fun way the creatures are portrayed to the pacing. Keeping Tartakovsky as director of all three films creates a fluid sense of comedy and look.
  1. Skyscraper — a sort of reverse "Die Hard," where a family man breaks into an imposing structure to save his family — scoots by on the thinnest of premises, and an even thinner script.
  2. It’s a provocative, serious, ridiculous, screwy concoction about whiteface, cultural code-switching, African-American identities and twisted new forms of wage slavery, beyond previously known ethical limits.
  3. The latest “Purge” is an erratic, fairly absorbing and righteously angry prequel.
  4. At its mean, snakelike best, it’s also a brutally assured commercial action picture, unburdened by the moral qualms or unnerving ambiguity of its predecessor.
  5. It’s fun to hang out with these people for a while.
  6. Wasikowska struggles to activate a vague notion of female disenfranchisement and victimhood, triumphant. She and Pattinson fill in as many blanks as they can, where they can.
  7. Visually here’s the crucial thing with Ant-Man and the Wasp, and it sounds like a small thing, but really it’s a big thing: The sequel has upped the instances and exploits of the rapidly changing superheroes, and every time the movie cuts to a shot of the heroes’ miniaturized car, scooting around the streets of San Francisco, it’s good for a laugh.
  8. The actors do most of their best work in between the lines. Krieps, especially, provides a subtle symphony of feeling, even as her role confines her to a prescribed range of narrative support. Director Peck’s work is handsome; what it lacks is a true sense of danger, a feeling of history roiling in the present tense.
  9. I like the new “Jurassic World” movie better than the 2015 edition. Bayona’s direction is considerably more stylish and actively mobile than Colin Trevorrow’s was.
  10. As Assayas himself has pointed out, the passing years have magically transformed a movie made in 1994 into a seeming product of post-1968 cultural turbulence and unresolved matters of the heart. It feels honest, in other words.
  11. Tag
    I kind of hate the movie’s mixture of bro comedy, sadistic practical jokes (don’t call it slapstick) and last-ditch pull for the heartstrings.
  12. If you can forget about the movie’s general moral vacuousness, the extremely uneven digital photography and the slavish devotion to designer assault weapons...the screenplay by “Watchmen” scribe Alex Tse keeps the shifting alliances and power plays in clever circulation.
  13. Bird’s rather strenuous sequel lands more in the camp of “Cars 2” and “Monsters University,” mistaking calamity and mayhem for real excitement and wit.
  14. Without undue fawning, Neville’s moving portrait does a lovely job of presenting Rogers as two people, the public figure and the private one, sharing the same closet full of zip-up sweaters.
  15. Tangling reality and fiction into one impossible knot is at the core of this story, and the form follows that function.
  16. It’s essentially the Hotel Earle from “Barton Fink,” augmented by the latest in robotic surgical techniques for bullet extraction.
  17. It’s smooth, and far from inept. But it isn’t much fun. That’s all you want from a certain kind of heist picture, isn’t it? Fun?
  18. Above all, there’s Collette, who sometimes can overdeliver a dramatic moment or an aghast reaction, but in this storytelling context she’s fabulous. It’s a fierce performance with a human pulse, racing one minute, dead still the next.
  19. Whannell is learning how forward motion can allow a filmmaker to get away with some pretty outlandish brutality. I wish the talk-dependent sequences weren’t so foreshadowed and clunky; only Gabriel transcends them.
  20. They never quite got the script right, but director Kormakur toggles well enough. And Woodley sees it through.
  21. The ending is very different from the novella, and I was surprised at its shameless, ruthless emotional effectiveness.
  22. An act of spiritual inquiry, a coolly assured example of cinematic scholarship in subtly deployed motion and one of the strongest pictures of 2018.
  23. This movie is either in your wheelhouse or it's not, but for those looking forward to Book Club, it delivers. For what it is — a breezy bit of Nancy Meyers-like fantasy, featuring four beloved actresses talking about sex, baby — it's exceedingly enjoyable.
  24. When it works it’s enjoyable; when it doesn’t, it falls into a generic sort of bustle, missing the darker, more troubling layers underneath.
  25. Alden Ehrenreich resembles a young, somewhat graver Robert Wagner, though he’s a better actor than the young Robert Wagner was. Ehrenreich’s contained, methodical brand of swagger matches up pretty well with the Han Solo we know from the ’77-’83 Harrison Ford edition.
  26. Deadpool 2 is just like “Deadpool” only more so. It’s actually a fair bit better — funnier, more inventive than the 2016 smash...and more consistent in its chosen tone and style: ultraviolent screwball comedy.
  27. The film itself isn’t dorky in the least. It’s an elegant and witty rumination on one woman’s quest for romantic fire.
  28. The movie’s not as slapstick-dependent as advertised. It’s a less coarse and more heartfelt project than McCarthy’s disappointing headliner gigs, such as “Tammy” and “The Boss.” (The Paul Feig-directed comedies “Bridesmaids,” “The Heat” and “Spy” are far better.) The new movie renders matters of directorial finesse and comic technique essentially irrelevant.
  29. Strange is a word that pops up frequently in Claire’s Camera, a lovely doodle and the latest from South Korean writer-director Hong Sang-soo. The strangeness extends to and suffuses most of the human interactions, which never go entirely smoothly.

Top Trailers