Chicago Tribune's Scores

For 6,837 reviews, this publication has graded:
  • 62% higher than the average critic
  • 2% same as the average critic
  • 36% lower than the average critic
On average, this publication grades 1.4 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 An American in Paris
Lowest review score: 0 What Goes Up
Score distribution:
6837 movie reviews
  1. There is, however, just enough atmospheric detail and, in the final lap, enough genuine feeling in the thorny friendships to make it worth seeing.
  2. Some may enjoy the cacophonous, raunchy, lowest-common-denominator dreck that The Hitman’s Wife’s Bodyguard has to offer. To those I say, godspeed. But it’s undeniable that the actors, the audiences and the filmmakers all deserve better.
  3. Censor is a bold artistic statement, inspired by the history of its own genre, though it’s not an uncritical assertion, posing complicated questions about media effects without offering easy answers.
  4. Like the modest but wholly winning precursor to “Hamilton” it is, In the Heights works as an essentially apolitical embrace of the American possibility and the American roadblocks to that possibility, in a canny variety of musical styles, from hip hop to salsa
  5. The film doesn’t begin to know what to do with the reincarnation idea beyond a few sharply edited micro-flashbacks. Is the look on Wahlberg’s face the character thinking What is going on? Or is it the actor thinking Am I in the next ‘Matrix’ or the silliest movie of 2021?
  6. Johnson-McGoldrick’s facility with both the tropes of the "Conjuring" films, and the Warren’s relationship, keeps the film swift and emotionally resonant, while Chaves pushes the cinematic aesthetic to the max.
  7. Spirit Untamed is a sweet film with a moving message about embracing family, heritage and most importantly, yourself, just the way you are, even if that means bravery and recklessness often go hand in hand.
  8. What’s so maddening about A Quiet Place Part II is the unused potential. Krasinski opens up the world and timeline of the film, but doesn’t utilize it in any meaningful way, introducing new ideas but then jettisoning the opportunity. Again and again he falls back on more of the same old tricks from “A Quiet Place,” which was a bore to begin with.
  9. What we have here is a smoothly crafted error in judgment.
  10. At times, it can feel a bit like “Clue” with so many plausible characters and motives swirling around and around, but Bana keeps it grounded, as a professional trying to do his job the best he can, while caught up in memory and trauma.
  11. There’s enough good humor and just a dash of vinegar to temper the tone from becoming too treacly or sentimental, though the triumphant moments are incredibly effective and moving.
  12. It’s a lovely sort of chemistry that develops in fits and starts over the course of the film, with both Helms and Harrison giving carefully modulated performances that are full of delightfully specific verbal tics and terrific comedic timing.
  13. It’s hard to pick apart a film that is as well-intentioned as Here Today, which earnestly wants to celebrate life, and every beautiful, tragic, poignant and surprising moment. But for a film that seeks to be so humanist, there’s only one truly human character in it. As likable as he is, that oversight is impossible to ignore.
  14. Thanks to the director, what they do makes for painless “avoidance viewing” — something to kill 100 minutes or so while you’re avoiding something else, delivered in an impersonal but not unskillful manner.
  15. At times, Limbo can feel confining in ways that exceed the confining circumstances of its characters. But the story of Omar deepens and amplifies the film’s second half, maintaining its droll amusements but playing the circumstances for just enough bittersweet honesty to make it stick.
  16. Four Good Days is a portrait of addiction that wants to dive into the ugliest parts: the detox, the physical deterioration, the flop houses, the things Molly did for drugs. But, despite Kunis’ haggard appearance, Four Good Days only flirts with ugly, pulling away from the most vile details at the last moments.
  17. I’m not saying the film needed to be formally experimental. But as it is, the documentary feels deeply pointless.
  18. Every character is merely a stereotype or symbol, not a fully-fleshed out person. Indeed, one has to wonder what every actor, including Monaghan, is doing in this flimsily written psychological thriller, but perhaps, that question isn’t even worth the speculation.
  19. Even if Godzilla vs. Kong feels more a tad more mecha than human, it satisfies nonetheless. The MonsterVerse remains a better-than-average franchise, pulling enough variations on its theme of Titans, clashing, to keep on keepin’ on.
  20. The film doesn’t seem particularly interested in who Turner is as an artist, or her creative inclinations and musical instincts.
  21. The cast generates the goodwill. Madison and Quinn bring heart and some shrewd dramatic instincts, while Cook and Sterling settle comfortably into a sincere comic key.
  22. I hate hidden-camera gags on principle and have since “Candid Camera.” It takes something at least as funny as the first “Borat” (and, at its sharpest and sweetest, the second one), or this movie, for my jaw to unclench long enough to enjoy the brutal slapstick and the faux human misery.
  23. Lean, mean and brutish, Nobody is best enjoyed as the juicy piece of pulp that it is. But Odenkirk, stepping into an action hero role for the first time, brings a sense of dolefulness and rue to this performance.
  24. I’d love to say it isn’t half-bad, but I can’t, because it is. It’s roughly 50 percent bad. The other 50 percent is better than that, even with a running time that threatens to never stop not stopping.
  25. It zigs when it might zag (unless you’re already familiar with Wynne’s life story), and “The Courier” becomes something much more dark, complex and moving.
  26. While the sentiments feel authentic, the ludicrous plot, filled with holes, doesn’t do the emotional aspects of the story any service.
  27. A cinematic delicacy as rare as the truffle itself.
  28. The end result is a movie that comes across as disappointingly vacant, a jumbled collection of good intentions gone wrong.
  29. The movie — certainly Daniels’s best since “Precious” — is as turbulent and zigzaggy as Holiday’s life no doubt felt like to the woman who lived it. If this risky movie hits some bum notes, Andra Day cannot be found anywhere in the vicinity.
  30. What happens in Night of the Kings is a piece of traditional oration and impermanent art, significantly marked by both its temporal and improvisational qualities. It’s both a power struggle and a ritual practiced by the collective within a microcosm of society housed under the oppression of the state, and a powerful demonstration of the transporting, and liberating, power of narrative.

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