Chicago Tribune's Scores

For 5,294 reviews, this publication has graded:
  • 63% higher than the average critic
  • 2% same as the average critic
  • 35% lower than the average critic
On average, this publication grades 2.6 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 The Wind Will Carry Us
Lowest review score: 0 What Goes Up
Score distribution:
5294 movie reviews
  1. Star vehicles this rickety have a way of making the world unsafe for comic democracy.
  2. I never felt emotionally exploited by the terrors on screen. Rather, Beasts of No Nation is an act of gripping empathy.
  3. Not even the film's occasional bursts of ultra-violence, or the endlessly oozing red clay, or Hiddleston crying a red tear, or Chastain swanning around in one flaming crimson ball gown after another, can infuse this gorgeous bore with anything like red-blooded suspense.
  4. The film is an anomaly — a confident, slightly square, highly satisfying example of old-school Hollywood craftsmanship, starring a major movie star brandishing a briefcase, and a handkerchief, rather than a pistol.
  5. The movie, a formidable technical and design achievement, has everything going for it except a sense of Jobs' inner life.
  6. Pan
    The most joyless revisionism since Disney's "The Lone Ranger.
  7. Muylaert's picture relates to many other South American domestic comedies pitting "the help" against the economic overlords, but this one has the grace to humanize everyone on screen. The results are both smart and curious.
    • 44 Metascore
    • 75 Critic Score
    The spookiest thing about Hotel Transylvania 2 is how much funnier, colorful and more original it is this second time around.
  8. It's clear that Roth was trying to say something about the brave new world of social media-enabled social justice, and public shame as a tool for change, but the message is garbled. That it comes wrapped in a horror package that just isn't truly scary or suspenseful is the real shame though.
  9. At its best, 99 Homes finds Bahrani tightening the screws on his own style, going for speed, concision and an agitating rhythm where his previous films took their time. I hope he'll go on to make movies combining the vital aspects of all his work.
  10. Cusack puts in work as Paul, an old-fashioned hero. But he seems miscast and can't quite modulate the levels of camp in his performance.
  11. The movie finds what solace it can in giving voice to those who escaped this church's grasp.
  12. Reynolds and Mendelsohn could not be more different actors, but in this pairing they are perfect.
  13. It's one of the most comforting science fiction films in years.
  14. I cannot say how I'd feel about The Walk if I'd never seen "Man on Wire," because I did see "Man on Wire," and I can't un-see it. I love it. I can only say The Walk struck me as an honorable good try of an also-ran, though with some lovely things to offer.
  15. A fair amount of Uncle John puts us behind the wheel or alongside Ashton as he drives, preoccupied with his misdeeds, along country roads lined with cornfields. No dialogue needed; in these transitions, Ashton and his surroundings are enough.
  16. Flashes of Goodnight Mommy are forceful and blackly funny.
  17. Sicario doesn't fall apart in its second half, exactly, but it does settle for less than it should.
  18. Because Stonewall turns everyone into a sentimental or suffocating "type" instead of a dimensional character, the results are sheer noise.
  19. The actors are more than fine. Demoustier is the key, making her character's shifts in astonishment and perplexity honest and plausible.
  20. It's a strong reminder of the times, then and now.
  21. Has its bright spots but is practically blinded by its own privileged perspective of life among the landed gentry of Brooklyn.
  22. If anything, director Cooper is so intent on portraying Bulger as a man, not a monster, the man comes off a little softer than he was, probably.
  23. Though Ball's workmanlike handling of the second in the trilogy, "The Scorch Trials," proves mainly that he can keep a franchise from running completely off the rails when the tracks have been laid perilously near a swamp of "dys-lit" cliches.
  24. A fairly good, extremely grueling movie as far as it goes — tracks the true-life fortunes of a battered group of climbers to the highest place on Earth. Yet somehow it doesn't go far enough.
  25. Perry may never make a movie for the masses, whoever they are. But his truest work burrows into weird, blackly comic places few other filmmakers would dare explore.
  26. It's not a difficult picture to watch. All you want from A Walk in the Woods, honestly, is a chance to enjoy a couple of veteran actors. But the book's comic tone hasn't found a comfortable equivalent for the screen.
  27. Joseph's direction offers up an energetic take on the material, incorporating text visualization, quick-cutting montages, and creative uses of animation to bring the thumping electronic music to cinematic life.
  28. It's very slight, and very short (barely 75 minutes minus the end credits), but the material is just effective and affecting enough to make up for its own schematic quality. It's a matter of watching a series of actors, led by Tomlin, tag off on their respective scenes.
  29. I wish Learning to Drive imagined a fuller, more dimensional inner life for Wendy, but Clarkson develops a push-pull rapport with Kingsley that fills in the blanks — or, rather, mitigates the script's on-the-nose tendencies.

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