Chicago Tribune's Scores

For 4,542 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 3.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 The French Connection (re-release)
Lowest review score: 0 UHF
Score distribution:
4,542 movie reviews
  1. It's a genteel film with a gun in its pocket, but it's also a film with a universal chord of feeling that keeps welling up from the dark surfaces and violent byways of the plot-and a final confession that both warms the heart and chills the blood.
  2. From a terrible epidemic comes a beautiful documentary.
  3. Unstrung Heroes is an extremely moving and surprisingly funny love sonnet to family, tolerance and the joys of individuality.... One of the best films of the year. [15 Sep 1995]
    • Chicago Tribune
  4. Does Kaurismaki believe in his own fairy tale? The movie, a humble delight, suggests the answer is yes.
  5. I don't see how you can get away from calling Cage’s performance a great one. [10 November 1995, Friday, p.C]
    • Chicago Tribune
  6. A beautifully acted and deeply compassionate study of ordinary people coping with the vicissitudes of life.
  7. The film recalls Martin Scorsese's "Mean Streets" and the minimalism of films such as Lars Von Trier's "The Idiots." Eason and cinematographer Didier Gertsch keep the cameras tight on the actors' bodies and faces, creating palpable unease.
  8. Small but sure, the film is like Alejandro himself: quick on its feet, attuned to a harsh life’s hardships and possibilities.
  9. While Streep has a tiny bit too much fun with some of her character's excesses, she's awfully good. So is Hoffman, who walks a fine line between obvious guilt and possible innocence.
  10. A gleefully gory, pitch-perfect parody of George Romero's zombie films. But this isn't a movie about other movies. Shaun of the Dead stands on its own.
  11. Wonderful spirit, humanity and humor.
  12. Rivets and amazes, even if it falls just frustratingly short of the mind-expanding grandeur it could have had.
  13. It may be the most serene and optimistic film Rivette has made in France. Yet even the art-house audience may undervalue it, miss the beauty, style and wit.
  14. This is an inspirational true story worried less about turning dramatic screws than earning its feeling through character.
  15. Hallstrom gives us a genial interpretation and a supremely good-humored film.
  16. What's remarkable as we watch Lilya's plunge (and the brief, false rays of light that illuminate it) is how real Moodysson makes her plight, how intensely he makes us empathize with Lilya.
  17. Such a triumph of simplicity, subtlety and tact--and of the eroticism in words, looks and glances--that the actors ravish us with sheer talent and intelligence.
  18. Even with its limitations it's one of the necessary films of 2013.
  19. Disney TV star Bridgit Mendler brings an effective if limited friendliness to Arrietty; Will Arnett and Amy Poehler are relatively restrained as her parents; Carol Burnett runs through a career's worth of vocal flourishes and aural panic attacks as the housekeeper.
  20. A classy triple shot of film erotica from three brilliant writer-directors.
  21. It's funny, moving and true, and it respects the audience's intelligence as much as the characters'. That combination, no matter the movie's label, deserves to be treasured.
  22. A rich and surprisingly old-fashioned musical biopic, The Runaways has neither the bloat nor the blather of your average Hollywood treatment of stars on the rise.
  23. It's a small story set in a memorably desolate location. The actors, all quite magnificent, enlarge it, just as cinematographer Mikhail Krichman illuminates the vistas and roadways and even the furtive kitchen table glances between clandestine lovers.
  24. Yes, Steve Carell can carry a movie. Yes, Judd Apatow can direct a movie. Yes, we'll all relate to a middle-aged virgin. And yes, when an aesthetician yells to her assistant "we're gonna need more wax," you best run.
  25. Intoxicatingly well-crafted entertainment about hunting down your enemy.
  26. Swift, vicious and grimly imaginative, the zombie film 28 Weeks Later exceeds its predecessor, "28 Days Later," in every way.
  27. Bone-dry but completely assured, both in its visual strategy and its wry deconstruction of the workplace comedy genre.
  28. The acting -- especially by Borrows, Ian Hart and Hackett -- is strong and transparent, utterly convincing. The whole movie has a seamless flow and an utterly convincing sense of time and place.
  29. It's a movie drama with a surface so bleak and an interior so hot with eroticism that it twists your guts to watch it.
  30. Creates an atmosphere of frenzy that is both powerful and unforgettable, providing neither solace nor comfort.

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