Chicago Tribune's Scores

For 4,530 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 3.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Blade Runner
Lowest review score: 0 Bratz
Score distribution:
4,530 movie reviews
  1. Burnett's documentarian empathy, coupled with his easygoing skill as a dramatic essayist, result in a film that doesn't look, feel or breathe like any American work of its generation.
  2. In both theatrical environments and open-air ones, with Wenders paying close attention to the geometrics as well as the psychology of the movement, Pina is the best possible tribute to Bausch, and to adventurous image-making.
  3. Kansas City is a wonderful film, done with all Altman's offbeat virtuosity, maverick humor and creative daring -- plus the acid nip that runs through all his recent works.
  4. Trouble the Water is so much better and truer and deeper and more illuminating than either of them ("Bowling for Columbine"/"Fahrenheit 9/11").
  5. If you haven't gotten hooked already on Michael Apted's series--collectively, one of the great documentaries in the history of the cinema--you should prepare yourself for the latest installment, 49 Up.
  6. Small, sure and stunningly acted, this is a picture of exacting control.
  7. The cave exists to provoke awe in mere mortals. The camera pauses at one point to take in a stalagmite reaching up to touch, nearly, a stalactite and the inevitable association is with Michelangelo's Adam and the hand of God.
  8. A peach of a story delightfully imagined by Dahl and lushly realized by Burton. It's full of witty or awesome scenes, flights of fancy and characters either totally, lovably sweet or outrageously, humorously rotten.
  9. What is surprising is how well Spielberg captures the horror, moving his camera with the fury of a combat photographer on the run. [17 Dec 1993]
    • Chicago Tribune
  10. An absolute delight, one of the most sheerly pleasurable movies Altman has ever made. It's wry, jokey and sexy, a tart and delectable entertainment. And, like most of Altman's best work, it's graced with a top-notch ensemble of first-class [9 April 1999, Friday, p.A]
    • Chicago Tribune
  11. The movie holds up far better than its detractors guessed - splendidly, in fact - not only thanks to Scott's spellbinding acting, but to the epic imagery, Coppola's (and Edmund North's) highly intelligent script and Schaffner's lucid, perfectly controlled direction.
  12. This is one not to be missed.
  13. The movie's excellence, a stylistic world apart from the strikingly photographed but rather hysterical 1967 film version of Capote's masterwork, is in capturing its subject without pinning him down.
  14. Moneyball is the perfect sports movie for these cash-strapped times of efficiency maximization.
  15. Filmed in black-and-white and shockingly well acted by De Niro, Raging Bull suggests that if you are looking for the source of evil in the world, you don't have to look any further than yourself. It's inside you or it isn't. And it comes out or it doesn't. [19 Dec 1980]
    • Chicago Tribune
  16. It blends cinematic Americana with something grubbier and more interesting than Americana, and it does not look, act or behave like the usual perception of a Spielberg epic. It is smaller and quieter than that.
  17. The characters in Gomorrah may lack an extra dramatic dimension: Garrone errs, if anything, on the side of detachment. Yet that detachment is also the key to the film's success. There's so little hooey and melodramatic head-banging here.
  18. No matter how many heists you've seen, how many gangs you've watched fall apart or how many aging crooks you've seen walk up a mean street to a violent destiny, Rififi never loses its ruthless grace and force.
    • 66 Metascore
    • 100 Critic Score
    This is the kind of film that doesn’t end after the credits roll, and it’s a gold-star example for what a documentary should do: inspire.
  19. A powerful film made with minimal means, it's a story of poor people on the fringes of society, done without sentimentality or condescension but with wicked humor.
  20. The third film, After the Life, much like "On the Run," mixes a hard-edged, relentless and stripped-down crime tale with a compassionate overview.
  21. even in the notable ranks of Leigh's movie, TV and theater work-an oeuvre embracing high comedy, biting comment and shivering pathos-Naked is extraordinary. In the hands of Leigh and his magnificently gifted, gutsy cast, these days and nights on London's streets burn themselves on our minds.
  22. Whether Kundun is a perfect movie or not, it's an important and beautiful one. Scorsese's movie takes us into a world we've rarely seen with this kind of sympathy or detail: a magical-looking society built on Buddhism and centuries of art and tradition.
  23. The self-taught man behind the griddle, his wife, Eve, and their five seen-it-all kids emerge as the ensemble of the year.
  24. It's a magical film which manages to transport and rivet us in the same highly-imaginitive, breezily playful way "Amelie" did.
  25. Pure magic, a three-act movie fantasy that transports us -- as the best films do -- to a world of its own, a place of ambiguous joy and delirious terror.
    • Chicago Tribune
  26. May be the best and saddest film of the year so far.
  27. Extraordinary.
  28. It put a smile on my face that never left for 117 minutes.
  29. Jafar Panahi of Iran is one of his country's great filmmakers, and Offside is his best movie to date.

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