Chicago Tribune's Scores

For 5,663 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 1.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 The Good, the Bad and the Ugly (re-release)
Lowest review score: 0 Shadow Hours
Score distribution:
5663 movie reviews
  1. The Lara Croft reboot Tomb Raider isn’t half bad for an hour. Then there’s another hour. That hour is quite bad.
  2. Everything about Gringo, from the storytelling to the comedy to the cinematography is incredibly lackluster. The film is dark and dim, like everything's covered in a layer of dust. Oyelowo is quite endearing and funny as Harold, but he's given very little to work with.
  3. For material that started out for the stage, Finley’s directorial debut really does feel like a movie. It’s elegant and well-plotted but not at the expense of the performances.
  4. It has flashes of inspiration and raw emotion, and beyond the famous faces in the cast, Disney’s Wrinkle in Time is graced with a wonderful, natural Meg courtesy of the young actress Storm Reid. Now 14, she’s easy and versatile screen company. The movie around her is a little frustrating and rhythmically stodgy, however, partly for reasons inherent in bringing tricky, elusive material to a different medium.
  5. For a while, director Roth plays this stuff relatively straight, and Willis periodically reminds us he can act (the grieving Kersey cries a fair bit here).
  6. The cast excels at transcending its material. The script by Justin Haythe matches Francis Lawrence’s direction; it’s workmanlike and steady and pretty flat.
  7. Game Night itself is not a long night; it’s reasonably snappy. But co-directors John Francis Daley and Jonathan Goldstein place a misjudged emphasis on keeping the violence and the action “real,” so at its most routine and generic, the movie forgets it’s supposed to be a comedy.
  8. The movie feels torn between styles and intentions. It’s trippier than “Ex Machina,” and Garland makes a valiant go of its concerns, but Annihilation feels like a short-story amount of story pulled and twisted into feature length.
  9. This dizzy sequel can’t match any of the first “Detective Chinatown” action highlights, such as the food fight at Bangkok’s floating market. Here’s hoping the third outing, which will take the main characters to Tokyo, returns to the amiable, artful high jinks of the first.
  10. May Marvel learn its lesson from Black Panther: When a movie like this ends up feeling both personal and vital, you’ve done something right.
  11. The Cloverfield Paradox is “Lost” in space — a faint, well-acted blip on the radar of your viewing life.
  12. A Fantastic Woman is the likely front-runner for this year’s foreign language Academy Award. Its clarity of purpose translates to an effectively lean and straightforward story of adversity and survival, in any language.
  13. The animation technology is top-notch, but the gentle spirit of Beatrix Potter's books is subsumed into a chaotic, violent mayhem, manically soundtracked to the day's hits.
  14. The films are bad, but they are entertaining. Fifty Shades Freed, the final film of the trilogy, just might be the most competently made yet — which is a shame for those expecting the high camp factor of "Fifty Shades Darker."
  15. It’s the last thing he wanted, I’m sure, but Eastwood’s latest ends up feeling like a stunt.
  16. As a period ghost story, it’s pretty pallid.
  17. In the end, as proven by that mixed emotional chord, any director this far along in developing an assured visual style truly is a director to watch.
  18. A more honest script might’ve supported Reda Kateb’s laid-back, medium-effective portrayal of Reinhardt more fully. As is, he’s depicted as an artist man floating through his awful times, living for the music.
  19. It fascinates both as film history and as a sobering reminder of how little credit a woman like Lamarr received, even at the peak of her popularity.
  20. The story is resolved a bit too easily, but that works for the world of the film, which is sanded down, buffed out, a bucolic, "Steel Magnolias"-inspired fantasy land of wide front porches, charming flower shops and the mega-famous rock stars that wander into them.
  21. Mom and Dad may be a blood-soaked lark of uneven quality, but it has the good sense to use Reagan Youth’s punk anthem “Anytown” as an accompaniment to Cage’s parental … change of heart, let’s call it.
  22. It’s a sidewinding but often effective L.A. crime thriller saddled with the wrong leading man.
  23. 12 Strong sticks to the basics, without much interest in the differentiating specifics of the men involved, or anything on a geopolitical scale beyond the impulse these Special Forces veterans shared in the wake of 9/11. It seems to me a qualified, limited success.
  24. The script is just so-so, but Ball’s directorial eye, clear in the first “Maze Runner” film though largely AWOL in the second, saves the third and final adventure from its own bloat.
  25. The movie, directed by Paul McGuigan, may be a bit tame and well-behaved for its subjects. But it’s a valentine, not a psychodrama.
  26. Turns out to be every bit as deft, witty and, yes, moving as the first one.
  27. The movie feels both expansive and confining, depending on the story chapter. Anderson’s visual facility by now has become so intuitive, so fluid and effortlessly right, if you’re at all susceptible to the allure of a moving camera you’ll fall headlong into Phantom Thread.
  28. One of those movies with good things going in one direction, and cheesy things going in the other. The ever-valuable Farmiga is a faceless voice after her sole on-screen appearance, and director Collet-Serra’s frantic, hand-held technique ensures that every supporting player looks as guilty as possible.
  29. It’s Blocker’s story, and Bale’s very good. But for Hostiles to fully make sense of its introductory on-screen D.H. Lawrence quotation — “The essential American soul is hard, isolate, stoic, and a killer. It has never yet melted” — we’d need a tougher, less comforting ending than the one Cooper provides.
  30. The Post has a lot going for it, alongside a certain amount of hokum.

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