Chicago Tribune's Scores

For 5,181 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 2.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 The War Tapes
Lowest review score: 0 I Hope They Serve Beer in Hell
Score distribution:
5181 movie reviews
  1. If all this potent drama recalls Bergman, the beautifully articulated staging and setting suggest that master of operatic social-sexual drama, Luchino Visconti ("The Leopard").
  2. The key American film of 2012 ... Its stance is extremely tricky. It's not a documentary. It's not a load of revenge nonsense. It's not '24.' I'm still arguing with myself over parts of it. And that's a sign that a movie will endure.
  3. Finally! A comedy that works.
  4. A landmark musical movie -- controversial, mercurial, even cheeky. It's the kind of film that wildly divides audiences and critics -- people tend to either love or hate it. I loved it.
  5. It's a spree of a movie, one of the most impishly entertaining of Altman's career. Smart, sparkling, almost sinfully amusing.
  6. Three Times is great cinema, pop romance that carries a special charge.
  7. Like all the Coens' movies, "Man" is supremely self-aware and darkly, hellishly funny. It's also brilliantly written and acted to a fare-thee-well by an outrageously good cast.
  8. Moretti gives us something different but very important. He shows us how life goes on.
  9. Director and co-writer Tom McCarthy played a weasel of a journalist in "The Wire." Now he has made a meticulous, exacting procedural on real-life journalists who excelled at their job; had the resources to do it properly; and in early 2002, published the first in a Pulitzer Prize-winning series of grim, carefully detailed stories of pedophile priests.
  10. It is wonderful: a rhapsodic adaptation of a memoir, a visual marvel that wraps its subject in screen romanticism without romanticizing his affliction. It left me feeling euphoric.
  11. Incendies is no mere riff on a Greek mainstay. It is its own entity, delicate and fierce. Already I've risked making it sound like homework. It's not; it's an enthralling drama of survival.
  12. Great, bittersweet family drama.
  13. Great filmmakers push their ideas and characters to the limit, unafraid of consequences - which is what Pedro Almodovar has done in Talk To Her, his latest film and, I think, his best.
  14. A beautiful picture with a great heart, a classic-to-be with a common touch.
  15. The beauty of the Turkish film Climates, a small but indelible masterpiece, is more than skin-deep. No 2006 film meant more to me. It's as sharp and lovely as the best Chekhov short stories.
  16. Mixing moments of genuine terror with offbeat comedy, writers Tom Epperson and Thornton have created a script that jumps along wih the energy of "In Cold Blood."
  17. The film itself is perfectly poised between artistry and audacity. It's beautiful.
  18. What distinguishes The Deer Hunter most is its many rich characters and the size of its vision. This is a big film, dealing with big issues, made on a grand scale. Much of it, including some casting decisions, suggest inspiration by "The Godfather." [9 Mar 1979]
    • Chicago Tribune
  19. Platoon is filled with one fine performance after another, and one can only wish that every person who saw the cartoonish war fantasy that was Rambo would buy a ticket to Platoon and bear witness to something closer to the truth.
  20. A grand ride. Sleek, beautiful and packed with emotion, not too flashy but full of heart, this is a movie worthy of its unlikely yet glorious subject: Depression-era America's best-loved racehorse and the two races that made him a legend.
  21. There is only one problem with the excitement generated by this film. After it is over, you will walk out of the theater and, as I did, curse the tedium of your own life. I kept looking for someone who I could throw up against a wall. [8 November 1971]
    • Chicago Tribune
  22. One of the screen's great portrayals of the hell-raising and malaise of young men in their 20s, hit Italy like a comic thunderbolt when it was released there in 1953 -- and it struck the American art-house audience in much the same way when it premiered here in 1956. Now it returns, and unlike its five aging-boy protagonists, this movie hasn't lost its first youth.
  23. In completing this simple, beautiful project Linklater took his time. And he rewards ours.
  24. Achieves a mellowness and melancholy that recalls the jazzy dissonance of director (and here, composer) Eastwood's best work: "The Outlaw Josey Wales," "Bird," "Unforgiven" and "Mystic River."
  25. It is a black comedy, among the blackest. It is also more grueling in some stretches than anything in "United 93."
  26. A landmark movie that becomes a priceless entryway into a distant land and its people, few of whom will ever seem as foreign and far away again.
  27. It's a movie of such jaw-dropping violence, wild improbability and dazzling style it overpowers all resistance.
  28. A movie bull's-eye: noir with an attitude, a thriller packing punches. It gives up its evil secrets with a smile.
  29. A deeply moving blend of cold terror and rapturous hilarity. Lovingly crafted by Italy's top comedian and most popular filmmaker, it's that rare comedy that takes on a daring and ambitious subject and proves worthy of it.
  30. A stunner: a fiercely brilliant film of such wrenching impact, nonstop drive and unpredictability that watching it becomes an exhilarating ride.

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