Chicago Tribune's Scores

For 596 reviews, this publication has graded:
  • 50% higher than the average critic
  • 2% same as the average critic
  • 48% lower than the average critic
On average, this publication grades 5.5 points lower than other critics. (0-100 point scale)
Average TV Show review score: 60
Highest review score: 100 Party Down: Season 2
Lowest review score: 0 Luis: Season 1
Score distribution:
  1. Mixed: 0 out of 302
  2. Negative: 0 out of 302
302 tv reviews
  1. Certain moments may verge on cliche (and once in a while, the dialogue is a little corny), but overall, The Pacific is crafted and acted with such loving devotion that it's hard to find fault with its sincerity and sentimental forays.
  2. Continues to test traditional notions of television heroism, upend conventional storytelling rhythms and deliver its thematic points and comic payoffs with a revolutionary subtlety. [4 Mar 2001]
    • Chicago Tribune
  3. "Studio 60" is not just good, it has the potential to be a small-screen classic.
  4. It's a shame that the coarse language used on Deadwood may put some viewers off the HBO show, which, as it happens, is television's most thoughtful exploration of morality. This richly textured, extraordinarily acted show... is a classic in the making, compelling even to those who might not necessarily be fans of the western genre. [4 Mar 2005, p.C1]
    • Chicago Tribune
  5. As compelling a show as you will see this season. [12 Mar 2002, p.C3]
    • Chicago Tribune
  6. It plays as fresh and funny as anything on TV. [5 Jan 2000]
    • Chicago Tribune
  7. The conversations are witty without seeming arch or forced, the relationships feel more organic and there are quite a few interesting developments but a distinct lack of franticness.
  8. Modern Family has the finest cast of any new fall show and, thank goodness, this excellent comedy gives these talented performers the kind of sharp material they deserve.
  9. It is an excellent 40th-anniversary documentary.
    • 84 Metascore
    • 100 Critic Score
    In Franz, the show has an actor who is to TV cops what Walter Cronkite was to anchormen. It seems as if I've seen Franz try on about a thousand TV cop outfits. This one fits perfectly - tattered, soiled but real...Caruso is a revelation. Given the history of TV redheads - Red Skelton, Lucy, Howdy Doody - one doesn't expect to find a carrot-topped tough guy. But Caruso is convincing, engaging and fully of New York City. [21 Sept 1993, p.T1]
    • Chicago Tribune
  10. Spectacular...You have never seen educational value so imaginatively and colorfully packaged. [4 Mar 1992, p.C1]
    • Chicago Tribune
  11. Don has shed some secrets, but the more he puts himself on the line, the bigger chance there is for failure. And when it comes to showing how complicated people fare under pressure, the sterling Mad Men has few peers.
  12. An insanely funny romp thanks to its unique storytelling technique and an inspired performance by the star. [15 Oct 2000]
    • Chicago Tribune
  13. The best show on television. That's right. It's better, even, than that other HBO series, the one about the nice New Jersey family, because for all of David Chase's brilliance with character in "The Sopranos," he can sometimes wander down thematic dead ends in search of a great dramatic discovery. Simon, with his careful plotting, police-investigation structure and sure sense of what he is trying to say, gives "The Wire" a sense of propulsion, of every moment building to something.
  14. "Love Monkey" may well be the smartest and most innovative network comedy-drama in many a year.
  15. In addition to being riotously and savagely funny, propelled by more great characters than the average night of network programming, it gets you thinking about what's hiding behind those curtains that Johnny walked through on so many nights. [19 Jul 1995]
    • Chicago Tribune
  16. Spellbinding...The Wire is compelling in its complexity, heart-rending in its humanity, and surprising in the ways it finds to spin the conventions of cop drama. [31 May 2002, p.4]
    • Chicago Tribune
  17. If you have only one hour a week for television, give it to "The Wire."
  18. "The Office" is everything television comedy can and ought to be but almost never is. ... The result is subtle, searing and laugh-bitterly-out-loud funny, like a series of the darkest Dilbert strips strung together and given human dimension and narrative shape. [30 Jan 2003]
    • Chicago Tribune
  19. If it is possible to experience love at first TV show sight, I'm smitten. [20 Sep 1991]
    • Chicago Tribune
  20. The laughs are still there ... But the show begins to take on ominous overtones, a kind of small-scale tragedy in the making as it plots the apparent path of a little dictator's downfall. [10 Oct 2003]
    • Chicago Tribune
  21. an original, quirky and wonderful half-hour comedy series that is both innovative and entertaining. [6 July 1990, p.2]
    • Chicago Tribune
  22. Perfectly seasoned, unassailably adult, brooding, base and piercingly funny, it is as good as everybody says it is, perhaps even better. While plot descriptions and joke recitation can suggest the intelligence and wicked wit of this portrait of life backstage at a "Tonight"-style TV talk show, only seeing it can convey how vivid and penetrating it is. [15 Mar 1998]
    • Chicago Tribune
  23. Dense, richly layered, packed with dozens of colorful characters (enough for four series), "The Wire" unfolds as a sophisticated, sometimes impenetrable and always ultra-gritty documentary. But it pays off after meticulous, devoted viewing, delivering rewards not unlike those won by readers who conquer Joyce, Faulkner or Henry James. [18 Sep 2004]
    • Chicago Tribune
  24. Though it takes a while to integrate a new character played by Megan Mullally, Season 2 confidently builds on the successes of Season 1, and from about Episode 5 onward, "Party Down" takes is place as one of the most consistently entertaining shows on television.
  25. Haunting and riveting. [25 Oct 1996]
    • Chicago Tribune
  26. Instead of trying to run on the fumes of style and attitude, a la "Twin Peaks," Murder One, at least in its premiere, has high octane in its tank. Boasting a tough, savvy script and the cast to handle it, the episode moves at a relentless pace from the discovery of the murder to Cross being charged with it. Along the way it establishes--or at least whets the viewer's appetite for more of--an intriguing assemblage of themes and characters. [19 Sept 1995, p.1C]
    • Chicago Tribune
  27. Both episodes are tightly constructed and full of delicious comic gems, and the show relies heavily on crisp editing and a subtle but sprightly soundtrack to keep the energy level high.
  28. "The Sopranos," with 13 hours a year to work with instead of a feature film's 2 1/2, tops, has the time to show the way human communication really works: Matters of the greatest consequence stem from misunderstandings and misinterpretations. It insinuates viewers so thoroughly and convincingly into the soul of a man like Tony Soprano that the result becomes universal. [14 Jan 2000]
    • Chicago Tribune
  29. The most exciting new show of the fall TV season.

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