Chicago Tribune's Scores

For 613 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 6.2 points lower than other critics. (0-100 point scale)
Average TV Show review score: 60
Highest review score: 100 Brooklyn Bridge: Season 1
Lowest review score: 0 Painkiller Jane: Season 1
Score distribution:
  1. Mixed: 0 out of 313
  2. Negative: 0 out of 313
313 tv reviews
  1. When Monae loosens up with Chau (when the material allows it, that is), the series discovers a valuable human element. Conspiracy thrillers can be about people, or they can be about plot, or they can be about both, which is very, very difficult. At its best season two manages both.
  2. The new six-episode Netflix nonfiction anthology “Trial by Media” constitutes good, solid recappery in the realm of true crime and 50 shades of quality in the world of press coverage of high-profile legal sweepstakes.
    • 91 Metascore
    • 90 Critic Score
    At a time when ESPN and other outlets are struggling to fill the sport-less void, thanks to the coronavirus pandemic’s disruption of, well, everything, The Last Dance is exactly what fans need...It’s both a perfect diversion and a tribute to shared sacrifice.
  3. It’s safe to say this bracing, exceptionally crafty portrait of a savvy political organizer; the thwarted Equal Rights Amendment to the U.S. Constitution; and a decade of warring women’s movements, right and left, amounts to something rare. It is serious fun, full of wit, fully invested in the humanity and the hypocrisies in everyone on view.
  4. It’s a moving, determinedly solemn adaptation of Swedish author/artist Simon Stålenhag’s lavishly illustrated book.
  5. Fine, eerily evocative HBO adaptation. ... It takes a while for the HBO series to spark in human terms. By the midpoint, however, Roth’s narrative mechanics prove irresistible and the sons’ storylines, in particular, so obviously dear to Roth, pierce the heart.
  6. The intermingling of real-world horror and fantasy revenge is nothing new, and when it works, it can rattle audiences in the best possible way. (Executive producer Peele’s own “Get Out” and “Us” are prime recent examples.) “Hunters” is far from sloppy, and it’s rarely dull. ... Here, though, it’s more a case of misjudged satire and mood-swing whiplash.
  7. Stewart’s just lovely in this. He has spent his post-"Next Generation" and post-"X-Men" career staking out various corners of the indie and studio film world, to mixed success. Picard suits him wonderfully, still. Just as the first round of “Star Trek” movies, the ones with William Shatner and the gang, made hay on the old idea of old dogs learning new tricks, “Picard” too has some of that in its synthetic DNA. And it works, because the actors are the right actors, and it’s treated seriously but without a crushing sense of solemnity.
    • 56 Metascore
    • 50 Critic Score
    Amazing Stories was a long foul ball. We're talking the gestation period of an elephant here, and the birth of a dormouse. [3 Oct 1985, p.C-11]
    • Chicago Tribune
  8. Enticing. [19 March 2000, p.3]
    • Chicago Tribune
  9. This is a vibrant, involving, visually imaginative series that does contain some nice action, and has among its interesting characters one of the most disturbing TV co-stars in quite a while.
  10. Michael Keaton set the standard for stay-at-home dads in the funny 1983 movie "Mr. Mom." But Daddio is no "Mr. Mom" (it also doesn't look and sound like any of today's sophisticated, edgy and smart comedies), and Chiklis is no Michael Keaton.
  11. The uninspiring comedy, slight and shockingly unfunny considering Goldberg's background, can only aspire to the levels of ABC's "Barney Miller."
  12. Needs more consistency if it wants to be as frightening as the movie.
  13. The predictability of it -- extending even to the fact that, yes, Underwood's and Fox's characters were once engaged -- is a shame. If a series is going to try to be groundbreaking in one respect, it ought to have the guts to do so in others as well, especially midway through the TV season, when the more interesting fare tends to be allowed to surface.
    • 84 Metascore
    • 80 Critic Score
    "No Direction Home" isn't moviemaking, it's mythmaking -- albeit of the highest order. It lacks the hurly-burly immediacy of D.A. Pennebaker's 1967 portrait of Dylan on the road, "Dont Look Back," or the Maysles brothers' documentary of the Rolling Stones 1969 tour, "Gimme Shelter." Instead, it settles for the easy conclusions that Dylan once routinely punctured. That said, it's still a fascinating valentine from one artist to another, the most detailed look yet at Dylan's transformation from acoustic folk singer to shades-wearing rocker. [25 Sep 2005, p.C9]
    • Chicago Tribune
  14. The documentary keeps adding layers of complexity to the tale until one is entirely hooked by its ambiguities and twists and turns -- and soon, as with a great novel, one can't wait to see what happens next.
    • Chicago Tribune
  15. "Cop Rock" is less innovation than next logical step (some might even say overdue step) for an increasingly music-conscious medium. [26 Sep 1990, p.1C]
    • Chicago Tribune
  16. This one should be found in the greeting-card aisle, not on a major network's prime-time schedule.
  17. It's leeringly sexual, ham-handed in its attempt to "confront" stereotypes, and just plain small-brained.
  18. Take just about every action-movie cliche, and toss in a few soapy ones, and you get an idea of the crammed mess to be found in Hawaii.
  19. Judging by its initial effort, it's a harmless, pretty romp. [22 Sept 1989, p.1]
    • Chicago Tribune
  20. It is shot in the seemingly off-handed manner of an independent film, and its concerns are with fending off boredom as the days drift by. It is invigoratingly easygoing. [10 Sept 1997, p.3]
    • Chicago Tribune
  21. A fine film but one lacking an emotional punch commensurate with its subject. [10 Sept 1993, p.N-1]
    • Chicago Tribune
  22. There is more of a silliness to it. No question, ALF is dumb and puerile. I rather liked it. [22 Sept 1986, p.5C]
    • Chicago Tribune
  23. A by-the-numbers, self-consciously smug blend of "Mod Squad" and "Fast Times at Ridgemont High." [10 Apr 1987, p.9C]
    • Chicago Tribune
  24. There's a sophistication at play in this show. The acting (Shipp has won two Emmys for his work in daytime soaps) is refreshingly unmannered. The supporting cast is solid, and the sets, costumes and soundtrack all work to create a distinctive TV world. [20 Sept 1990, p.15]
    • Chicago Tribune
  25. Certainly, these pioneering jaunts have a stylishness and sophistication lacking in most mainstream televison shows. But at this point, for all their nifty good looks, they just aren't special or scary enough. [9 June 1989, p.C-1]
    • Chicago Tribune
  26. Perhaps there are a few kids who might buy this sort of stuff, but most others will be bored stiff and find pretentious the ways in which Chance maintains that what he is now doing is part of a post-Vietnam guilt trip. The show's main failing is in taking itself too seriously. It's somber when it should be silly. [20 July 1992, p.C5]
    • Chicago Tribune
  27. Does Witchblade the series work? You bet, judging from Tuesday's premiere. [12 June 2001, p.3]
    • Chicago Tribune

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