Chicago Tribune's Scores

For 5,655 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 Age of Innocence
Lowest review score: 0 I Hope They Serve Beer in Hell
Score distribution:
5655 movie reviews
  1. Scott’s production works on the level of classy, confident yarn-spinning.
  2. Chalamet is excellent, saving his purest acting for the killer final shot several minutes in length, when we finally see what these weeks with Oliver have meant to him.
  3. With a lovely voice performance from Cena, the spirit of Ferdinand does shine through. But the rest of the story filler is mostly forgettable.
  4. Much will be resolved by the final chapter of the trilogy, to be directed by Abrams. As much as I enjoy his brand of canny populism, I prefer Rian Johnson’s wilder, generous, far-flung imagination.
  5. A sexy, violent, preposterous, beautiful fantasy, co-writer and director Guillermo del Toro’s most vivid and fully formed achievement since “Pan’s Labyrinth” 11 years ago.
  6. Darkest Hour pulls from both extremes of Oldman’s prodigious but often unexploited skill set, the subtlety as well as the flamboyance.
  7. In code, Wonder Wheel dances along the edge of the writer-director’s off-screen life, namely the allegations by Dylan Farrow, Allen’s adopted daughter, of sexual molestation, and Allen’s controversial marriage to Soon-Yi Previn, the adopted daughter of Allen’s then-partner Mia Farrow.
  8. Fans of “The Room” — they’re everywhere — will get something out of it, though I’d argue not enough; director Franco’s camera sense is neither quite in synch with Wiseau’s (thank God) or quite distinct enough in its own style.
  9. Even when the movie loses its way narratively, Washington’s in there, slugging, building a living, breathing character out of Gilroy’s knight-errant.
  10. Too often Coco mistakes chaos and calamity for comedy, and it’s a little perverse to prevent this particular story from becoming a full-on animated musical.
  11. It has a wonderful message about tolerance, acceptance, understanding and respect. There's no guarantee the message would register with all moviegoers, but social ignorance can be cured one person at a time.
  12. A vividly acted, dramatically rich depiction, harsh and beautiful, of life and death in 1940s Mississippi, following two families of intertwined destinies.
  13. For a while it’s engaging but pretty thin. Then it gets more interesting, especially for the actors.
  14. The breathtakingly bad Justice League, with its corny banter and terrible effects just might signify a return to that goofy Batman form.
  15. Midway through a middling film adaptation, like this one, you realize it’s the same old clue-delivery mechanism, in a darker mood but also a less lively one.
  16. The surreal and silly sequel to the hit 2015 comedy skates on the well-known but still-appealing comic personas of stars Will Ferrell and Mark Wahlberg and their zany chemistry.
  17. Philippe’s strongest work in 78/52 is the historical context, ranging from the images and roles of mothers in 1950s popular culture to a key handful of movies photographed in black and white (as was “Psycho,” partly to get the blood past the censors) released the previous year, 1959.
  18. Watching Lady Bird is like flipping through a high school yearbook with an old friend, with each page leading to another anecdote, another sweet-and-sour memory. It’s a tonic to see any movie, especially in this late-Harvey Weinstein era, that does right by its female characters, that explores what it means to be a young woman on the cusp of adulthood, and that speaks the languages of sincerity and wit.
  19. LBJ
    It wouldn’t raise questions about Harrelson’s prostheses and makeup, for starters, if the drama carried more urgency.
  20. The performances by Pinnick and Spence are clean, vivid and honestly felt, with a lot of the best work emerging nonverbally in the spaces between characters closing a gap.
  21. So it’s uneven, but the good stuff’s unusually lively and buoyant.
  22. A movie can be unreasonably formulaic and still be reasonably diverting, and A Bad Moms Christmas is the proof.
  23. The performances, including a sweetly sincere and easygoing turn from the deaf actress Simmonds, become the audience’s way into Wonderstruck.
  24. Refreshingly resistant to predictability.
  25. While parts of Thank You for Your Service work well, overall, the film is inconsistent.
  26. There’s nothing vague about the narrative of The Killing of a Sacred Deer. Its strangeness is crystal clear. It plays out in ways both sardonically funny and extremely cruel.
  27. This movie, a diary of a freewheeling, far-flung installation art project, combines chance and intuition and a humane eye.
  28. Ultimately Suburbicon is woefully underwritten. Gardner and Maggie are mere sketches, a set of facial tics and accessories masquerading as real characters.
  29. A jumbled nonsensical mess.
  30. More than a female singing cowboy, Vargas was ranchera incarnate, whether singing the material of drinking companion Jose Alfredo Jimenez or her own cathartic cries from the heart. The film is a fond but clear-eyed tribute.

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