Chicago Tribune's Scores

For 5,502 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 2.5 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Star Wars: Episode III - Revenge of the Sith
Lowest review score: 0 Friday the 13th
Score distribution:
5502 movie reviews
  1. As Assayas himself has pointed out, the passing years have magically transformed a movie made in 1994 into a seeming product of post-1968 cultural turbulence and unresolved matters of the heart. It feels honest, in other words.
  2. Tag
    I kind of hate the movie’s mixture of bro comedy, sadistic practical jokes (don’t call it slapstick) and last-ditch pull for the heartstrings.
  3. If you can forget about the movie’s general moral vacuousness, the extremely uneven digital photography and the slavish devotion to designer assault weapons...the screenplay by “Watchmen” scribe Alex Tse keeps the shifting alliances and power plays in clever circulation.
  4. Bird’s rather strenuous sequel lands more in the camp of “Cars 2” and “Monsters University,” mistaking calamity and mayhem for real excitement and wit.
  5. Without undue fawning, Neville’s moving portrait does a lovely job of presenting Rogers as two people, the public figure and the private one, sharing the same closet full of zip-up sweaters.
  6. Tangling reality and fiction into one impossible knot is at the core of this story, and the form follows that function.
  7. It’s essentially the Hotel Earle from “Barton Fink,” augmented by the latest in robotic surgical techniques for bullet extraction.
  8. It’s smooth, and far from inept. But it isn’t much fun. That’s all you want from a certain kind of heist picture, isn’t it? Fun?
  9. Above all, there’s Collette, who sometimes can overdeliver a dramatic moment or an aghast reaction, but in this storytelling context she’s fabulous. It’s a fierce performance with a human pulse, racing one minute, dead still the next.
  10. Whannell is learning how forward motion can allow a filmmaker to get away with some pretty outlandish brutality. I wish the talk-dependent sequences weren’t so foreshadowed and clunky; only Gabriel transcends them.
  11. They never quite got the script right, but director Kormakur toggles well enough. And Woodley sees it through.
  12. The ending is very different from the novella, and I was surprised at its shameless, ruthless emotional effectiveness.
  13. An act of spiritual inquiry, a coolly assured example of cinematic scholarship in subtly deployed motion and one of the strongest pictures of 2018.
  14. This movie is either in your wheelhouse or it's not, but for those looking forward to Book Club, it delivers. For what it is — a breezy bit of Nancy Meyers-like fantasy, featuring four beloved actresses talking about sex, baby — it's exceedingly enjoyable.
  15. When it works it’s enjoyable; when it doesn’t, it falls into a generic sort of bustle, missing the darker, more troubling layers underneath.
  16. Alden Ehrenreich resembles a young, somewhat graver Robert Wagner, though he’s a better actor than the young Robert Wagner was. Ehrenreich’s contained, methodical brand of swagger matches up pretty well with the Han Solo we know from the ’77-’83 Harrison Ford edition.
  17. Deadpool 2 is just like “Deadpool” only more so. It’s actually a fair bit better — funnier, more inventive than the 2016 smash...and more consistent in its chosen tone and style: ultraviolent screwball comedy.
  18. The film itself isn’t dorky in the least. It’s an elegant and witty rumination on one woman’s quest for romantic fire.
  19. The movie’s not as slapstick-dependent as advertised. It’s a less coarse and more heartfelt project than McCarthy’s disappointing headliner gigs, such as “Tammy” and “The Boss.” (The Paul Feig-directed comedies “Bridesmaids,” “The Heat” and “Spy” are far better.) The new movie renders matters of directorial finesse and comic technique essentially irrelevant.
  20. Strange is a word that pops up frequently in Claire’s Camera, a lovely doodle and the latest from South Korean writer-director Hong Sang-soo. The strangeness extends to and suffuses most of the human interactions, which never go entirely smoothly.
  21. Disobedience sometimes wants for rougher edges, and a fuller characterization for Weisz to play. But there’s real satisfaction in watching her, McAdams and Nivola inhabit a fraught and complicated relationship.
  22. At its spiky, intermittent best, Tully is the best work Cody has done in the conventional feature format since “Juno.” And yet I’m all over the place on it.
  23. Subtle, elemental and powerfully beautiful, writer-director Chloe Zhao’s The Rider is the Western of the new century, and the most enveloping film experience I’ve had this year.
  24. The film has its momentary diversions, a few good throwaway jokes amid a tremendous amount of PG-13 maiming and destruction.
  25. It’s just not funny or fresh enough, and that has everything to do with the material and how it’s handled visually, and nothing to do with the people on the screen.
  26. Zama is a patient, delicately strange film chronicling an increasingly impatient man and a destiny beyond his control.
  27. In the best way, this is a tough movie to shake, and while it believes in the kindness of strangers, Lean on Pete never forgets every other human failing, impulse and circumstance.
  28. The story lurches forward in spasms. We’re fully in the head space of a messed-up, hollowed-out psyche. Backed by Jonny Greenwood’s sinister wash of a musical score, You Were Never Really Here feels like a waking nightmare.
  29. Rampage is a drag.
  30. A little of Barinholtz goes a pretty good distance for me, but sharing scenes with Mann (who has the timing of a wizard) and blocklike Cena (funny just standing there, with his “cop haircut” and perpetually aghast reactions), he’s what the movie needs: a relaxed wildcard.

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