Chicago Tribune's Scores

For 4,961 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 3.1 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Capturing the Friedmans
Lowest review score: 0 UHF
Score distribution:
4961 movie reviews
  1. Arnold reminds us that the best thrillers don't settle for taking the audience away from their everyday experience; rather, they burrow inward and, by sheer power of cinematic observation, make it hard for us to look away lest we miss something--on a screen or off.
  2. Yes, for every star there are five more also-rans and maybe-next-times. But there is honor and glory in being part of the blend. And, at the film's midpoint, when Clayton talks about the late-night recording session in 1969 of "Gimme Shelter," the memory takes on the glow of myth.
  3. It's a very small piece, working in a deceptively casual storytelling style. But it's my favorite music film since "Stop Making Sense," and it's more emotionally satisfying than any of the Broadway-to-Hollywood adaptations made in the last 20 years.
  4. Clean up the language, and this little roach of a movie could play the bottom half of a double bill with Rowan and Martin's “The Maltese Bippy.” [26 March 1999, Life, p.9E]
    • Chicago Tribune
  5. Still packs a wallop. It's also a movie with no easy passage to its dark heart.
  6. In this movie, Auteuil ("Jean de Florette") and Binoche ("Chocolat") are such marvelous actors, they can shift us in almost any emotional direction with a speech or a glance.
  7. Her
    A delicate, droll masterwork, writer-director Spike Jonze's Her sticks its neck out, all the way out, asserting that what the world needs now and evermore is love, sweet love. Preferably between humans, but you can't have everything all the time.
  8. With Neighbors 2: Sorority Rising, they've flipped the script, creating a feminist party classic that's completely current and doesn't skimp on any of the wild humor. It's also even better than its predecessor.
  9. A masterpiece that can still leave you dizzy with wonder. As much as any movie ever made, this visionary science-fiction tale of space travel and first contact with extraterrestrial life is a spellbinding experience.
  10. Ida
    One of the year's gems.
  11. A magnificent throwback to an almost vanished era of epic filmmaking by great filmmakers in thrall to their own passions, rather than to the studio bookkeepers.
  12. It balances bloodshed with charm, spectacle with childlike glee. It's a near flawless movie of its kind.
    • Chicago Tribune
  13. Vibrating with humanity, it's a potent portrait of love, ranging from the purely carnal to the impurely sublime.
  14. With rich irony, The World juxtaposes the teasing, grand images of the outside world's wonders with the insular community and the mundane lives of the park employees.
  15. A cornball adventure film about a dashing young explorer mixing with New York cafe society types. What a delightfully complicated fantasy film this is. What Woody Allen has done with The Purple Rose of Cairo is create a classic film about our love affair with fantasy. [28 Jun 1985, p.1]
    • Chicago Tribune
  16. Like "Memento," Mulholland Drive is an amnesiac noir in the tradition that goes back to "Spellbound" and "Somewhere in the Night."
  17. This excellent film works the way Blanchett's characterization of Carol works: It's meticulous about appearances, while fully aware that appearances can deceive.
  18. This movie, the subject of controversy, is a defiantly personal statement on what the war really is--laced with that now-familiar "Roger and Me" mix of homespun wit, pop culture playfulness, populist heart twisting and "gotcha" guerilla film-making tactics.
  19. A major cinema event of the year, a masterpiece of Italian film traditions in social/political realism and historical family epic.
  20. There's an incongruous but ravishing beauty in Far From Heaven, and in its three excellent central performances, that counteracts the seeming kitschiness of the story.
  21. The Russian film The Return is a stunning contemporary fable about a divided family in the wilderness - a simple, riveting film that almost achieves greatness.
  22. A film that lets life flood into our souls.
  23. While this is very much a McQueen picture, with visual flourishes and motifs unmistakably his, the historical urgency and staggering injustice of the events keep McQueen and company utterly honest in their approach and in their collective act of imagining Solomon Northup's odyssey to hell and back.
  24. Raunchy, smart, ebullient, melancholy, insightful, surprising, funny, frank and sexy as all get-out.
  25. It is a wonder, marked by a sense of wondrous skepticism that has nothing to do with cynicism.
  26. Be forewarned: Dog Days, like many of Seidel's films, will drive some moviegoers to rage and walkouts with its unrelentingly depressing tone. But it also a remarkable, deeply disturbing work by a brilliant filmmaker.
    • 79 Metascore
    • 100 Critic Score
    In its 98 minutes, film critic Godfrey Cheshire’s documentary Moving Midway records an amazing architectural feat, and that’s the least of its virtues.
  27. This is a superb picture, sharp, open-minded, wised-up and cinematically accomplished.
  28. It still soars, but now it seems richer, more expansive. Amadeus reminds us that movies can be lyrical as well as vulgar, ambitious as well as playful, brilliant as well as down and dirty -- just like Amadeus himself.
  29. A Chekhovian tale of major artistic power.

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