Chicago Tribune's Scores

For 713 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: 62
Highest review score: 100 The Office (UK): Season 1
Lowest review score: 0 Killer Instinct: Season 1
Score distribution:
  1. Mixed: 0 out of 386
  2. Negative: 0 out of 386
386 tv reviews
  1. When comparing the two, “Maggie” is superior in look and execution [to “How I Met Your Father”. ... And it’s biggest strength is that it’s not only the story of Maggie and Ben, but a true ensemble comedy.
  2. “Only Murders in the Building” mashes up high comedy and carefully observed human moments and Season 2 is a continuation, and deepening, of that. All three leads are aces at this, and the show is directed with a particular appreciation for Short’s symphony of facial expressions.
  3. This is a show created by people who recognize that our lives are a group project. No person is an island and we have to accept that in order to get anything done. Sometimes that process can feel like rough edges forever jabbing at your soft spots. When regular people — not a special ops unit or a group of superheroes — figure out a way to work toward a common goal? There’s nothing better. It gets me in the gut.
  4. Ditching the nasty interpersonal drama that fueled much of the previous show, “Hollywood Houselift” centers on an element that always interested me more: The weirdness of working with high-end clientele.
  5. I always feel smarter about the human condition after watching the show. ... These couples are willing to be vulnerable for our viewing pleasure. Maybe you’ll judge them. Maybe you’ll be glad your relationships are nothing like theirs. And maybe you’ll walk away with a better understanding of how people tick.
  6. It’s an intricately plotted series that doesn’t glamorize spy work so much as make clear just how awful it can be. The betrayals will always get you in the end.
  7. Here are five guys well past their supposed prime just ripping into the form as if they never left.
  8. It avoids treating its characters as quirky confections, and instead treats them as adults you might actually meet in the real world. ... It’s pretty good and frequently satisfying. That’s more than I can say about a lot of television.
  9. This is well-trodden territory and “Conversations with Friends” isn’t particularly insightful about the nature of affairs. And yet after each episode ended, I found myself drawn to the next. ... There’s something electric in this naturalistic drama about the toxic ties that bind us.
  10. It's a good drama, one filled with an enjoyable, watchable cast, lovely and textured writing, and catchy original and previously recorded alternative music. [20 Jan 1998, p.3]
    • Chicago Tribune
  11. Welliver’s contemplative talents have long been on display in this role and the show is at its best when it’s just Harry quietly talking with people. But Rogers, with that immaculate blunt cut bob, had me intrigued in these newest episodes.
  12. Exceptionally good. Amid a river of true-crime dramatizations featuring big names side-eyeing their co-stars while contemplating murder, or their characters’ tragically misunderstood innocence, this one knows what it’s doing. It sets a tone, gets everybody in the same movie and focuses on character interaction in long, fluid takes, glance by glance, bizarre development by development.
  13. It’s charming. It’s a slyly comic romance as much as it is a yarn of cryptic last words and accumulating corpses. Its amateur detectives are played by Lucy Boynton and Will Poulter. And they are perfect.
  14. You never get a sense of the story’s internal logic. The whole thing feels undercooked and overcomplicated. The show’s vibe is very “curl up in a cardigan with a glass of wine on a rainy day.” But despite the wild swings of the story, the series tends to feel tonally monotonous and can’t sustain a sense of tension over its eight episodes.
  15. The actors periodically save it. Goode captures enough of the real-life Evans’ vocal rhythms to keep every one of his scenes cooking, and he makes him a delightful, then scuzzy satyr of unpredictable moods and unerring pacing.
  16. Overpacked but compelling.
  17. If you’re from Chicago, or have lived here for any significant length of time, the three-part Netflix documentary “Conversations with a Killer: The John Wayne Gacy Tapes” is little more than a repackaging of the well-known, if disturbing, story of this serial killer. For anyone else. ... Director Joe Berlinger’s series is as decent a retelling as any.
  18. 10 episodes in, you don’t come away feeling you know the stories of these women any better, any deeper, than you already did. The series ends on a rousing note, which gives it the feel of a vanity project rather than an interrogation of newsmakers.
  19. “Anatomy of a Scandal” is a considerable upgrade [from "The Undoing"]. Don’t get me wrong, it’s garbage, but it’s high-end garbage and eminently binge-able. ... I would have liked more of an emphasis on how Kate builds her case, but the show isn’t particularly interested in the nuts and bolts of it all. It’s not a courtroom thriller.
  20. The intersecting storylines hold enough interest to pull you through the odd cliche and the occasional thesis line. And Vance, as a modest soul trying to outrun any number of clocks, really is a marvel.
  21. It is the chemistry between the two leads, who are old friends from New Zealand, that keeps this lark afloat.
  22. Setups, compromised motives and sharp repartee abound. The show has a dark and wonderfully tangy sense of humor, much of it thanks to Lamb.
  23. Crossing Jordan is marked by crisp, clever dialogue, reasonably plausible plotting and a brassy lead performance that would, if there were justice, make viewers forget about the soft-focus females in Judging Amy and Providence. [24 Sep 2001]
    • Chicago Tribune
    • 68 Metascore
    • 90 Critic Score
    Without a doubt, the season's best new show.
  24. A misfire to keep the show stuck in place, spinning its wheels, rather than pushing the story forward. ... There’s no comedy in whatever is happening between them, but no substance either. Tom remains underwritten.
  25. Give WB credit, at least, for trying to pretend this show is not a regular-season reject they're airing in summer for accounting purposes.
  26. So much of the show is focused on Joyce’s learning curve, course-correcting bit by bit, and yet she’s neither the smartest nor the most interesting person in the room. That would be Doug’s assistant, Tina. ... Visually, “Minx” is a hoot.
  27. Phillips struts through this show with not so much passion and longing for a lost love but preening, the sense that he is gracing the town, television and the planet itself by his very presence.
  28. The show is high-octane entertainment and it gets a lot right — about how segregated the city is, and also how insular. ... It’s Tommy — and by extension, Sikora — who is shouldering everything that’s interesting about “Force.”
  29. They’re goofy as hell, but also intelligent and thoughtful and self-aware, which allows them to take on otherwise touchy subject matter.

Top Trailers