Chicago Tribune's Scores

For 4,874 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 3.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 The Big Lebowski
Lowest review score: 0 I Hope They Serve Beer in Hell
Score distribution:
4874 movie reviews
  1. A spectacular, engrossing, big-hearted film based on one of Korea's great national epics and made by that country's top filmmaker.
    • Chicago Tribune
  2. Extraordinary film, one that, like the museum itself, captures and shows three centuries of Russian culture and history in all its beauty, confusion, terror and majesty.
    • 67 Metascore
    • 100 Critic Score
    What emerges is a far more accurate, complete and endearingly human portrait of Mozart than any documentary has ever painted.
  3. A film masterpiece, restored more than three decades after its French release, "Army" remains a superb, coolly accurate portrait of a living hell recalled by two men who knew it well and record it truly, Melville and novelist Joseph Kessel.
  4. What "M.A.S.H." did to service comedies, what "McCabe and Mrs. Miller" did to westerns, what "The Long Goodbye" did to detective pictures, The Player does the to Hollywood success story. [24 April 1992]
    • Chicago Tribune
  5. 82-year-old Ingmar Bergman takes one of the most painful, shameful episodes of his own life and, writing for director Liv Ullmann, transmutes it into magical, brilliant artistry.
    • Chicago Tribune
  6. Attack of the Clones celebrates a certain youthful spirit in both moviemaking and movie watching; because it's as much phenomenon as movie, audiences will either ride with or reject it. I was happy to take the ride.
  7. The naked emotions, when they finally break loose, carry serious weight, akin to a John Cassavetes psychodrama.
  8. Badlands is about a landscape as much as the couple fleeing across it. Watching it, you sense that Malick finds his outlaw lovers beautiful and terrible, pathetic and monstrous, funny and overwhelmingly sad. [27 March 1998]
  9. Beautifully remastered and containing Cocteau's long-unseen special prologue and credits -- is as much a feat of feverish delight as it was in the dark days of Vichy and WWII.
  10. Another masterpiece from one of the world's more neglected great directors, a master artist who here reveals the soul of another.
  11. Kieslowski's beautiful, sad and clear-eyed The Decalogue -- an overwhelming psychological and spiritual epic for our times -- faces the darkness, sends out a song against the storm.
  12. Told with such sadness and exaltation, such mastery of image and sound, that watching it makes you feel renewed and hopeful.
  13. Some movies delight you. Some stimulate and provoke. Some enlighten and inform. And some simply hand you a rousing good time-- does all of that and more.
  14. A shockingly powerful screed against racism that also manages to be so well performed and directed that it is entertaining as well. [30 October 1998, Friday, p.A]
    • Chicago Tribune
    • 70 Metascore
    • 100 Critic Score
    Fabulous for many reasons. Most important, this movie is Chiyoko's story, not an anime adventure. It's animated, but it's human and will touch the soul of anyone who has loved deeply.
  15. The reason it's distinctive has less to do with raw emotion, or a relentless assault on your tear ducts, and more to do with the film medium's secret weapons: restraint, quiet honesty, fluid imagery and an observant, uncompromised way of imagining one outsider's world so that it becomes our own.
  16. 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.
  17. 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.
  18. 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.
  19. Trouble the Water is so much better and truer and deeper and more illuminating than either of them ("Bowling for Columbine"/"Fahrenheit 9/11").
  20. 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.
  21. Small, sure and stunningly acted, this is a picture of exacting control.
  22. 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.
  23. 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.
  24. 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
  25. 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
  26. 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.
  27. This is one not to be missed.

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