Chicago Tribune's Scores

For 4,872 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 Toy Story 2
Lowest review score: 0 Pee-wee's Big Adventure
Score distribution:
4872 movie reviews
  1. All but sweeps you away with its dazzling technique and shattering emotion. [27 November 1996, Tempo, p.1]
    • Chicago Tribune
  2. The movie here is Treadwell's footage--some of it beautiful, much of it difficult to watch.
    • 87 Metascore
    • 88 Critic Score
    Generous in spirit and always engaging as it demonstrates that no matter how difficult life may become, there's no excuse for being drab.
    • Chicago Tribune
  3. Boasts the elements of something greater than a love story. Too bad it devotes them to something less than a great love story. [22 November 1996, Friday, p.A]
    • Chicago Tribune
  4. Moneyball is the perfect sports movie for these cash-strapped times of efficiency maximization.
  5. Whit Stillman's Love & Friendship is compact, modestly budgeted, sublimely acted and almost completely terrific.
  6. Both funny and sad, often in the same glance-averted instant. See it with someone you'd trust to stick around in an avalanche. It's one of the highlights of 2014.
  7. 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.
  8. It blends cinematic Americana with something grubbier and more interesting than Americana, and it does not look, act or behave like the usual perception of a Spielberg epic. It is smaller and quieter than that.
  9. A film poem of sometimes humbling beauty: a movie that opens up a new world to us - in the mountains of Iranian Kurdistan - with an enchanting freshness and austerity of vision.
    • Chicago Tribune
  10. Sex, lies, and videotape discovers a distinctive, laconic rhythm right from the start, thanks to Soderbergh's taste for holding his shots just a bit longer than conventional, slick editing technique would allow. [11 Aug 1989, Friday, p.A]
    • Chicago Tribune
  11. What this movie is about, and where it succeeds best, is the primordial level of fear. The characters, for the most part, and the non-fish elements in the story, are comparatively weak and not believable. [20 June 1975]
  12. It is enraging yet nuanced, an elusive combination for any documentary.
  13. The parent/child relationship at the movie's core is endlessly fascinating.
  14. The Murder of Fred Hampton is a remarkable film in many ways. It keeps alive an incident which has become a symbol of repression to a lot of people.
  15. Much of Nebraska is ordinary prose, but the best parts are plain-spoken comic poetry.
  16. After last year's black-hearted "No Country for Old Men," the Oscars may well be in the mood to embrace a fairy tale sampling every imaginable genre, with a note of triumph accompanying even the worst suffering, capped by the snazziest ending money can buy.
  17. Kidman crafts a characterization of breathtakingly controlled artifice, dead-on timing, dizzyingly precise humor. Her part is a knockout--in every sense of the word. [6 Oct 1995]
    • Chicago Tribune
  18. A great, haunting film; it affects us in ways we're not used to...it is capable of both lifting our hearts and chilling us to the bone.
  19. A true original: a film that stands apart from the crowd, goes its own way and all but dares you not to like it.
  20. 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."
  21. The naked emotions, when they finally break loose, carry serious weight, akin to a John Cassavetes psychodrama.
  22. Here's one of the strongest feature film debuts in a long time, in any genre.
  23. We need films such as Kennedy's as a corrective.
  24. Any film with Jennifer Ehle, perfect as the tightly wound but loving therapist, tends to be worth seeing in the first place.
  25. "All right" doesn't begin to describe it. The Kids Are All Right is wonderful. Here is a film that respects and enjoys all of its characters, the give-and-take and recklessness and wisdom of any functioning family unit, conventional or un-.
  26. A stirring, emotionally true testament to foolish bravery as well as shameful evidence of the severity with which it is so often punished.
  27. It's almost too rich in ideas for its own good: The sense of concentration and proportion isn't there. But it remains an astonishing, magnetic, devastating piece of work. [23 Sept 1988]
    • Chicago Tribune
  28. 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.
  29. From a terrible epidemic comes a beautiful documentary.

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