Chicago Tribune's Scores

For 4,441 reviews, this publication has graded:
  • 64% higher than the average critic
  • 2% same as the average critic
  • 34% lower than the average critic
On average, this publication grades 3.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 Amores Perros
Lowest review score: 0 I Hope They Serve Beer in Hell
Score distribution:
4,441 movie reviews
  1. A beautiful, almost defiant film on an unusual subject: love among the elderly.
    • Chicago Tribune
    • 62 Metascore
    • 88 Critic Score
    The movie has an avalanche of eye-popping visual effects, including a bustling Santa's village, nifty "Jimmy Neutron"-type gadgets and "Stars Wars"-like igloo walking robots - and, of course, the requisite heartwarming happy ending.
  2. A modern digitized lollapalooza concocted out of old-fashioned slam-bang space opera elements.
  3. This century's Planet of the Apes is a rouser, a screaming-banshee fun house.
  4. Delivers that rare combination of winning traits. It's a low-key comedy with a risque hook -- a seemingly straight woman dabbles in lesbianism -- yet it maintains an old-fashioned faith in literate dialogue, believable behavior and themes that reach beyond the plot points.
  5. Visually, even compared to Sayles' own best work, it's somewhat prosaic - and dramatically, it suffers from the fact that its two main characters are kept so far apart. But the screenwriting and the cast redeem this film.
    • 66 Metascore
    • 88 Critic Score
    It's funny, sympathetic, mostly smart, and it boasts a likable cast of characters led by two performers who have star power and know how to use it.
  6. The kind of movie some audiences are starved for, a comedy with a human face, warmth and spirit.
    • Chicago Tribune
  7. A picture about America with the blinders off, a film about heroism that makes you chuckle and feel sad - and a film about childhood that lets us reenter that lost world and see the grass, sky and sunlight the way they once looked, in the golden hours.
    • Chicago Tribune
  8. There's scarcely a scene in which the actors, action and sound track aren't cranked up to maximum intensity.
    • Chicago Tribune
  9. The Zellweger-Firth-Grant triangle works as irresistibly as Hepburn-Grant-Stewart in "The Philadelphia Story."
    • Chicago Tribune
  10. This is not an inspirational drama about finding yourself; it's a Hitchcockian comedy about adultery, murder and losing a corpse.
    • Chicago Tribune
  11. More intent on engaging the heart as it explores the mysteries contained within - mysteries that, as Lawrence and his spot-on cast demonstrate, are far more compelling than simple murder.
  12. These are real characters, fully observed, gutsily written, beautifully acted by the two leads.
  13. A film that celebrates simple human kindness. If the ending feels somewhat unsatisfying, it is perhaps because one hates to see this too-brief film end at all.
  14. Griffith gives the fullest performance of her career; Weaver, the most likable, even though she's the villain of the piece. Michael Nichols directs his best film in years. [23 Dec 1988, Friday, p.A]
    • Chicago Tribune
  15. It's a summit meeting between three brilliant leading men from three generations with three striking on-screen personas.
  16. Graced by bleak, stylized direction and an insightful ending that suggests that nothing ever really ends, this first feature film by "Northern Exposure" and "Homicide" writer and producer Bromell is a promising debut.
    • Chicago Tribune
  17. One of those rare movies that manages to maintain the hushed intensity and claustrophobic anxiety that is normally associated with theater or prose.
  18. A real gem: a deadpan fantasy that turns into one of the best pictures ever about the post-"Star Wars" studio moviemaking era.
  19. A deliberately old-fashioned picture that succeeds in nearly everything it tries to do.
    • Chicago Tribune
  20. A triumph that deserves a broad audience.
    • Chicago Tribune
  21. A story of faith and redemption, as viewed through the blurry and bloodshot eyes of a young man.
  22. It has a jokey irreverence that keeps it from teetering over the edge to absurdity.
  23. The actors and writing lend unexpected dimension to all of the characters, and Lopez's Harry is an indelible antagonist, one who manages to be genuinely big-hearted and evil.
    • Chicago Tribune
  24. Scene after scene in Calle 54 just knocks you out.
    • Chicago Tribune
    • 71 Metascore
    • 88 Critic Score
    An extraordinary movie on many levels.
  25. The simplicity and idealism of The Color of Paradise are part of what makes it so attractive to near-jaded palates here. There are no evil characters in the film.
  26. A fine French comedy-drama.
    • Chicago Tribune
  27. An incredibly ambitious film and one of the most highly accomplished of the year.

Top Trailers