Chicago Tribune's Scores

For 7,005 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 1.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Early Summer
Lowest review score: 0 The Happytime Murders
Score distribution:
7005 movie reviews
  1. Raiff most likely wanted to make a movie about a well-intentioned guy in his early 20s who gradually finds his way to a better life. What undermines his efforts is a creeping smugness and self-regard, positioning every side character as an intern in the Andrew Improvement Program.
  2. Instead of dramatizing this subject’s life, it dramatizes the extravagance of moviemaking. The script shoves the dicey stuff off to the side: race, infidelity, a complicated figure’s inner demons.
  3. Lightyear’s dazzling first half showcases the wittiest comic action from the Pixar folks in many years.
  4. The script for Spiderhead makes a rookie mistake: It lets the audience get too far out ahead of the Teller character’s moral and narrative awakening. Hemsworth has some icy, rascally fun with his scenes; when Teller and Smollett get some time together, on their own, the story flickers to something like life. But even at 100 minutes minus end credits, the film’s stretch marks are undeniable.
  5. The film is intimate without feeling particularly deep or complicated. Not that it needs to be.
  6. The action is perpetual, and perpetually in need of a better director, and editing that heightens and sharpens our pleasurable excitement instead of dulling it. The appeal, I suppose, of the far-flung, constantly roving storyline this time around is its latitude for different sorts of mayhem and different genre shout-outs. But all too soon Jurassic World: Dominion made me long for the best bits of Spielberg’s “Lost World” or J.A. Bayona’s “Fallen Kingdom.” Those folks know how to set up a shot, vary the rhythm and deliver the payoff.
  7. Ideally, with Roe about to be erased from the books, The Janes would land on a more complex note of imminent, controversial change afoot. Small matters. It’s a very fine film
  8. A blithe classic with Gershwin songs, Fred Astaire and Audrey Hepburn. [03 Oct 1997, p.10]
    • Chicago Tribune
  9. Rhythmically Crimes of the Future maintains a rigorous sense of calm throughout, which can get a little pokey in some scenes. But Mortensen, Seydoux and especially Stewart invest fully, so some of us, anyway, can too.
  10. It’s not quite an airball; you won’t find yourself returning to it again and again, either. But there’s a part of me that’s just happy to see non-blockbuster movies about human-scaled dilemmas still getting made.
  11. It’s a pretty good time, and often a pretty good movie for the nervous blur we’re in right now. It’s cozy.
  12. Men
    The film is organic, all of a piece and, for Garland, somewhat on the nose and didactic. It’s also haunting in ways you can’t easily categorize.
  13. At the moment, far too many true crime documentaries function as little more than an episode of “Dateline.” They report information but lack analysis or even thoughtful ideas about how to use the medium of film to tell a story at once shocking and infuriating. Such is the case with Our Father on Netflix.
  14. Operation Mincemeat takes liberties. All historically based movies do. Call Madden’s version a civilized shell game that accomplishes its mission, more or less in the spirit of how things actually got made up and went down.
  15. Heavily influenced by Sternberg's "Underworld," this is one of Ozu's oddest, most enjoyable departures; it reveals him as a first-rate noir director. [09 Jan 2005, p.C11]
    • Chicago Tribune
  16. The script’s a messy sort of mess. There are also clear signs of a nervy director at work.
  17. Even if this sex-forward comedy-drama is slightly miscast, directorially, and always slightly favoring the male gaze, the actors are excellent.
  18. It’s a hearty stew of influences and rewards and, yes, some gristle.
  19. I suspect the Cage fans who will enjoy this movie won’t care if it’s fundamentally sloppy and lazy moviemaking. The star of the show is neither.
  20. What good is a movie that can’t stop moving, or screaming, long enough to pace itself?
  21. All the Old Knives settles for all the old tropes.
  22. No one seems particularly good at their jobs, but that’s beside the point. They’re silly and self-absorbed — mildly obnoxious more than anything — but rarely is their desperation funny.
  23. True to the egalitarian allure of the restaurant chain itself, Lisa Hurwitz’s documentary The Automat is both a touching farewell and a fond hello-again for those old enough to remember the salisbury steak, creamed spinach and peach pie behind those little windows of nickel-fed discovery.
  24. In every design detail, the physical production and realization of You Won’t Be Alone really does take you somewhere. However unsettling, it’s a film that knows what it’s doing.
  25. In “Morbius” the actor’s willful disinterest in figuring out the rhythm of a scene, what’s important in it and how to bounce off his scene partners — well, it’s acting in a vacuum. What he needs is a director who can steer him away from his favorite scene partner, i.e., Jared Leto, long enough to activate the material at hand, even if it’s just a third-tier Marvel franchise hopeful.
  26. This one rolls right over any doubters, powered by Bullock and Tatum, in a film that lets them play to their strengths.
  27. The movie has a good shot at a huge streaming audience. But does it have the creative instincts of a good movie? An OK one, yes. It’s too bad The Adam Project is only that, since the cast isn’t dogging the assignment for a second.
  28. Turning Red is pure Pixar in its imaginative clash of genres and impulses. Yet it’s something new, too, its own cultural- and gender-specific creation. I’m eager to see what Shi does next, metaphorically and every other way.
  29. There are moments in the second half of After Yang when some of the narrative beats get a little confusing or vague. Kogonada’s steady, often still, but never static compositions may not be enough for some viewers. Whatever. Clearly, actors respond to what he’s after.
  30. The relationship at the film’s center remains a combustible mystery.

Top Trailers