Chicago Tribune's Scores

For 4,475 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 3.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 The Lord of the Rings: The Two Towers
Lowest review score: 0 Left Behind
Score distribution:
4,475 movie reviews
  1. Leigh's film — one of the year's best — honors its subject in all his tetchy ambiguity.
  2. Complex, knotty and at times even uncomfortable; its world has a weight and heft that makes its ultimate romanticism seem genuinely transcendant, genuinely magical. [14 April 1989]
    • Chicago Tribune
  3. Lovely, heart-stirring film.
  4. And yet there is enough of a core of sincerity to turn even the most preposterous moments-such as the film's dream-sequence finale-into something moving and true: You buy the feelings, even as the situations degenerate into the ludicrous and absurd. [17 Aug 1990, Friday, p.C]
    • Chicago Tribune
  5. 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.
  6. A modern digitized lollapalooza concocted out of old-fashioned slam-bang space opera elements.
  7. This century's Planet of the Apes is a rouser, a screaming-banshee fun house.
  8. 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.
  9. 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.
  10. The kind of movie some audiences are starved for, a comedy with a human face, warmth and spirit.
    • Chicago Tribune
  11. 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
  12. There's scarcely a scene in which the actors, action and sound track aren't cranked up to maximum intensity.
    • Chicago Tribune
  13. The Zellweger-Firth-Grant triangle works as irresistibly as Hepburn-Grant-Stewart in "The Philadelphia Story."
    • Chicago Tribune
  14. This is not an inspirational drama about finding yourself; it's a Hitchcockian comedy about adultery, murder and losing a corpse.
    • Chicago Tribune
  15. 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.
  16. These are real characters, fully observed, gutsily written, beautifully acted by the two leads.
  17. 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.
  18. 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
  19. It's a summit meeting between three brilliant leading men from three generations with three striking on-screen personas.
  20. 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
  21. One of those rare movies that manages to maintain the hushed intensity and claustrophobic anxiety that is normally associated with theater or prose.
  22. A real gem: a deadpan fantasy that turns into one of the best pictures ever about the post-"Star Wars" studio moviemaking era.
  23. A deliberately old-fashioned picture that succeeds in nearly everything it tries to do.
    • Chicago Tribune
  24. A triumph that deserves a broad audience.
    • Chicago Tribune
  25. A story of faith and redemption, as viewed through the blurry and bloodshot eyes of a young man.
  26. It has a jokey irreverence that keeps it from teetering over the edge to absurdity.
  27. 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
  28. Scene after scene in Calle 54 just knocks you out.
    • Chicago Tribune

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