Chicago Tribune's Scores

For 4,743 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 3.5 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Secrets & Lies
Lowest review score: 0 Chaos
Score distribution:
4743 movie reviews
  1. The film version of “Breakfast at Tiffany’s” came out in the year in which An Education is set, and beyond the hairstyles, there’s something of the willful, gleeful Golightly reinvention expert about Jenny.
  2. This is one of the finest achievements of the year, and while it's easy to lose your way in the labyrinth, I don't think Tinker, Tailor, Soldier, Spy is most interesting for its narrative pretzels. Rather, it's about what this sort of life does to the average human soul.
  3. No halves about it: Half Nelson is a wholly absorbing and delicately shaded portrait of an educator played by Ryan Gosling, a young man harboring an offstage secret.
  4. The fans of their best work -- "Blood Simple, "Raising Arizona," "Barton Fink" -- now can add Fargo to the list, pushing the Coens to the first rank of contemporary American filmmakers. [8 March 1996, Friday, p.B]
    • Chicago Tribune
  5. Be forewarned: The movie lasts three hours and 16 minutes, and nearly all of it deals with subjects that polite society (and even rude society) tends to ignore or evade.
  6. This is a superb film and one of Nicholson's great performances, tamped down but magnetic.
  7. One of the most searing, heartbreaking and ultimately triumphant mother/daughter stories ever put on film.
  8. Swooningly beautiful, furious and thrilling, Zhang Yimou's Hero is an action movie for the ages.
  9. Pretty-near pure gold.
  10. (Mitchell's) Hansel may be small-boned and soft-featured in an androgynous way, but his Hedwig is a force of nature, burned out and jaded yet brimming with compassion and bursting with energy.
  11. Here's what I most appreciate about Shannon's work with the writer-director Jeff Nichols: the subtlety.
  12. The Sun sheds only so much literal light on its chosen subject; it's a film of shadows and silence, the calm before and after the storm. But everything you see and hear carries weight and an eerie poetic undercurrent.
  13. The miracle is that even with a bit of dramaturgical clunkiness The Past is fluid, intimate cinema. Few directors today can shoot in such tightly confined spaces, with such a determined control over his actors' movements, and make the drama work so well.
  14. Jam-packed mishmash of wall-to-wall music, trenchant character study, slick sociology and sly witty-Brit comedy.
  15. An animated tale equipped with heart, humor, blazing action and not a sappy song in earshot.
  16. Hampton and Wright have been more than sensible when it comes to Atonement. They’ve responded intuitively to a tale that is half art and half potboiler, like so many stories worth telling.
  17. It's unlike any other war film, in any language.
  18. The tone of The Host is slippery in the best way; you're never sure if you're in for a joke or a shock, yet nothing feels random.
  19. It's a nice mix, an elegantly smoky and dangerous cocktail -- just like the old noirs, but in a more modern, shinier glass. And since the basic brew is Elmore Leonard's, it tickles as it goes down. [26 June 1998]
    • Chicago Tribune
  20. With Maura delivering an explosive performance, Almodovar presents Pepa's tale with real gusto--with vibrant colors, gaudy personality, mad jokes and a sexiness that erupts off the screen.
  21. The film is unusually free of cant and the usual trappings of war docs. There is no voice-over narration and very little dramatic underscoring. Right or wrong, the filmmakers shave matters of political policy and contextual analysis clean off the finished product, which runs a tight 94 minutes.
  22. This may be the most overtly Christian mainstream picture since "The Passion of the Christ." Unlike that one, though, Malick's comes with a generosity of spirit large enough to get all sorts of people (including non-believers) thinking about the nature of faith and what it's all about.
  23. The film is not for the frantic of spirit. Its steady rhythm and even-handed tone threaten occasionally to stultify. But little things mean a lot in this universe, as they should.
  24. Davies has said that he loves the "poetry of the ordinary." In that sense, he doesn't just wax nostalgic about the good old days, but rather, he makes us question and reevaluate those things we may not remember so readily-not the general, but the specific.
  25. Fruitvale Station works because Coogler and his leading man present a many-sided protagonist, neither saint nor unalloyed sinner.
  26. Panahi's simplicity accentuates the movie's power: its sense of life caught unobserved.
  27. By the time the film is over, you may not feel differently about the key issues than you first did, but you will have many more facts (sound) and opinions (fury) to consider.
    • Chicago Tribune
  28. Though Bertuccelli's film orbits around a lie, the story is really less about deception and suspense than it is a moving portrait of female and familial bonds.
  29. Lavant is splendid in the film, and he's essentially the entire film - and yet, Holy Motors is somewhat more than a contraption built for a fearless performer.
    • 84 Metascore
    • 88 Critic Score
    Resonates like the best of Southern fiction.

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