Chicago Tribune's Scores

For 632 reviews, this publication has graded:
  • 51% higher than the average critic
  • 2% same as the average critic
  • 47% lower than the average critic
On average, this publication grades 6 points lower than other critics. (0-100 point scale)
Average TV Show review score: 61
Highest review score: 100 The Office (UK): Season 2
Lowest review score: 0 Killer Instinct: Season 1
Score distribution:
  1. Mixed: 0 out of 330
  2. Negative: 0 out of 330
330 tv reviews
  1. Creator and screenwriter Michael Waldron and director Kate Herron have a ball with the multiverse and competing-timeline angles. While the show’s overall narrative apparently feeds into the forthcoming 2022 “Doctor Strange” sequel, which Waldron worked on, these first two episodes work on their own.
  2. Bareillis, who worked on the scores for the musicals “Waitress” and “SpongeBob SquarePants,” contributes some songs, too, and amid a lot of clever, outsized exaggeration, her easygoing presence grounds this promising series nicely.
  3. Anything but limited. It’s profoundly expansive and exploratory.
  4. This version, 25 years after a first and relatively well-regarded mini-series, more than justifies the considerable effort that went into making it. It's a tale of soullessness with a remarkable depth of soul, of bloodsucking that's pulsing with red blood cells. [19 June 2004]
    • Chicago Tribune
  5. The four-hour package makes an eerie supernatural tale, spiced with substantial good-versus-evil subtext and musings on the power of friendship. Screenwriters Lawrence D. Cohen and Tommy Lee Wallace are true to the book`s spirit, and Wallace`s direction is snappy. They treat King`s gifts with respect. One of the best is his way of transforming the most ordinary items into images and instruments of terror.
  6. The scene doesn’t have that easy catharsis of so many therapy-breakthrough “aha!” moments in so many series. It’s simply and powerfully real. Not all of “Mare of Easttown” feels that way. But it’s enough.
  7. I like The Tommyknockers...Written by Lawrence Cohen, whose adapations produced the best TV ("It") and movie ("Carrie") Kings, The Tommyknockers" gets special-effects, sci-fi silly on the second night. But King's ability to give us relationships-between Gard and Bobbi, between E.G. Marshall's character and his grandson, even between Bobbi and Gard and their dog-on which to hang our emotions provides a familiar and solid foundation for his effective scare tactics.
  8. The show is about people, not positions, but it’s about people who learn the price of taking a position, a stand, as well as people who pay the higher price of not doing so. All this without cant and speechifying. Plus it’s really funny and truly moving. Bravo.
  9. Even within its limitations of scope, “Allen v. Farrow” is compellingly argued.
  10. If the TV adaptation goes a bit slack near the end, just when you want the screws to tighten, it’s worth seeing for the performances. And for this: The supernatural element is artfully realized in a selective, effective handful of sound cues and visual strokes, among them a voice from the grave, recorded on a static-ridden CD. “The Sister” may be familiar, but it’s rarely obvious.
  11. “WandaVision” seems likely to entice die-hard, movie-starved Avengers fans in pandemic lockdown. It may also frustrate others to distraction, or the bailout point, just as things have a shot at getting interestingly good.
  12. What’s missing here overall isn’t seriousness, but context and a little tension. The way the comics are deployed individually, too many of the same points are stated, reiterated and unchallenged. (A roundtable setup would’ve been livelier.) An extra 10 minutes per episode might’ve led to a richer examination of the issues — the words humankind creates, then stigmatizes, then weaponizes, and then tends to use over and over to less effective advantage.
  13. Everything that works in writer-director Scott Frank’s highly bingeworthy adaptation of “The Queen’s Gambit,” which is most everything about it, comes from treating Walter Tevis’ 1983 novel just seriously enough. ... The results aren’t “important," or “improving.” They’re just pretty irresistible.
  14. Chicago, you should watch it. Everybody everywhere else, you should watch it, too. Seek out “City So Real” either to confirm your suspicions about how this city functions, or to affirm your idea of Chicago as the brash epitome of American character, from politics on down. Or up. ... The grand, sprawling five-episode docuseries complicates and humanizes your idea of the place.
  15. Even in the more uneven and discursive monologues, the performers take care of business. ... It is very difficult, however, to make such politically toxic recent history work as comic truth with a serious dimension. “Coastal Elites” manages it just enough.
  16. Screenwriter and producer Joanna Johnson applies a nice, smooth coat of “This is Us” lip balm on your chapped pandemic soul throughout. It’s an easy watch, though I found it hard to take my eyes off the amazing LA pandemic circumstances showcased here, with all those spacious views. It’s entertaining, that is, until we get to the show’s strident lesson plan. ... It’s all in your outlook, according to “Corona.” You’re either improved by the pandemic, or you’re not.
  17. The series features terrific actors, led by Jurnee Smollett and Jonathan Majors, going for broke but full of subtlety when the emotional terrain demands it. They’re hardly the only ones worth watching, but they’re the first and best reasons to invest in this wild enterprises.
  18. It’s easy to fall for it, even if you find some of its unscripted storytelling techniques less than trustworthy. The subjects’ search for love and romantic companionship, as they navigate dating experiences that, for some, are their very first, don’t need much editorial flourish. The people on screen are so naturally charismatic and compelling.
  19. While “Angel of Darkness” has its blaringly anachronistic moments — “sounds like a plan,” Sarah says at one point — it’s well-tooled and visually detailed enough to keep you coming back for more genteel punishment.
  20. 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.
  21. 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.
    • 90 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.
  22. 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.
  23. It’s a moving, determinedly solemn adaptation of Swedish author/artist Simon Stålenhag’s lavishly illustrated book.
  24. 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.
  25. 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.
  26. 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
  27. Enticing. [19 March 2000, p.3]
    • Chicago Tribune
  28. 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.

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