For 210 reviews, this critic has graded:
  • 55% higher than the average critic
  • 1% same as the average critic
  • 44% lower than the average critic
On average, this critic grades 3 points lower than other critics. (0-100 point scale)

Aaron Barnhart's Scores

  • TV
Average review score: 63
Highest review score: 100 Ed: Season 1
Lowest review score: 0 Gossip Girl: Season 1
Score distribution:
  1. Negative: 31 out of 210
210 tv reviews
    • 80 Metascore
    • 70 Aaron Barnhart
    It’s an ambitious and ever-shifting examination of the lack of foresight in a culture addicted to rapid change.
    • 60 Metascore
    • 70 Aaron Barnhart
    After the nerve-jangling first episode, I predict you’ll be hooked.
    • 48 Metascore
    • 70 Aaron Barnhart
    A gripping, one-of-a-kind drama.
    • 60 Metascore
    • 70 Aaron Barnhart
    It’s a smart series with a pacing that sometimes takes your breath away. Still, once the action pauses, will viewers want to spend time with a bunch of amoral characters?
    • 68 Metascore
    • 70 Aaron Barnhart
    Sleek, action-packed and heavy on the acting talent.
    • 67 Metascore
    • 70 Aaron Barnhart
    A good, potentially great, show.
    • 44 Metascore
    • 70 Aaron Barnhart
    It’s a hoot.
    • 48 Metascore
    • 70 Aaron Barnhart
    Heche really shines in this role.
    • 75 Metascore
    • 70 Aaron Barnhart
    It’s not near HBO quality but certainly better than that “Sleeper Cell” tripe that Showtime put on last year.
    • 70 Metascore
    • 70 Aaron Barnhart
    The constant toing-and-froing of “Mrs. Harris” might have gotten tiresome, as an earlier HBO effort at revisionist biography, “The Life and Death of Peter Sellers,” did. Bening, though, is somehow able to conjure up a completely new mood for each time and setting.
    • 69 Metascore
    • 70 Aaron Barnhart
    "The Riches" reminds me a bit of "Big Love" the first time I saw it. I wasn’t sure whether to like these people or despise them, whether I bought the premise or not. And yet, at the end of the hour, I wanted to see more.
    • 59 Metascore
    • 70 Aaron Barnhart
    Samantha Who? actually gets better as it goes along. There’s a lot of table-setting in this first episode, but I found myself enjoying a later episode, and Applegate is a big reason why.
    • 49 Metascore
    • 70 Aaron Barnhart
    Once you get beyond the show’s homages, both to 1970s style and “Desperate Housewives,” this proves to be a groovy little summer soap opera.
    • 56 Metascore
    • 70 Aaron Barnhart
    After a nine-month hiatus, one of the best new shows of last season returns from the undead with a bit more of the deviled edge that made it so great when it first emerged from the crypt in the fall of 2007.
    • 74 Metascore
    • 70 Aaron Barnhart
    While I prefer the British Mars, the show's premise is so strong that this decent execution of it is hard not to recommend.
    • 67 Metascore
    • 70 Aaron Barnhart
    Fringe does a pretty nifty job of balancing the demands of the paranormal genre against the viewer’s need for some comic relief.
    • 57 Metascore
    • 70 Aaron Barnhart
    All those ingredients make for a stew that, initially anyway, needs salt....Having seen two more promising later episodes, I say give Dollhouse time. And in the meantime, enjoy the set, the so-called dollhouse.
    • 54 Metascore
    • 70 Aaron Barnhart
    The show is entertaining enough, but the American Hood, played by Rufus Sewell, won't remind anyone of Patrick Stewart.
    • 53 Metascore
    • 70 Aaron Barnhart
    The latest re-imagining of Daniel Defoe’s classic tale of a man shipwrecked on an island far from home has already earned its keep.
    • 61 Metascore
    • 70 Aaron Barnhart
    Surprise! It’s not nearly as bad as I thought.
    • 78 Metascore
    • 70 Aaron Barnhart
    The new version bears less of a resemblance to “ER”-styled medical drama of the 2000 “Hopkins” than it does to “The Hills,” the MTV sensation that introduced a whole new visual vocabulary to unscripted TV. The stories still involve people being treated at Hopkins, of course, but what’s striking is how much time is spent outside the hospital with the docs and their families.
    • 47 Metascore
    • 70 Aaron Barnhart
    I like Gary Unmarried. It’s like other sitcoms I’ve seen of late involving newly broken-up households (remember when the sitcom single dad was widowed instead of divorced?).
    • 65 Metascore
    • 70 Aaron Barnhart
    In other words, don’t hate it immediately just because it isn’t “Curb,” because if you love “Curb” you might eventually like Bored to Death.
    • 70 Metascore
    • 70 Aaron Barnhart
    Whether Chance has any actual superpowers might be a point worth debating if watching Human Target weren’t so much fun.
    • 63 Metascore
    • 70 Aaron Barnhart
    The Lost Valentine ultimately succeeds for two reasons: It is an engaging if somewhat convoluted little yarn. And White takes emotional command of the movie.
    • 55 Metascore
    • 70 Aaron Barnhart
    It's an engaging set-up for what will likely be a hit, since it was obviously designed to complement the social-service minded "Judging Amy." [25 Sept 2001, p.E1]
    • 64 Metascore
    • 60 Aaron Barnhart
    It works because the three regulars--Zach Braff, Donald Faison and especially John McGinley--are all over these episodes, and the four newcomers are kept in their place.
    • 42 Metascore
    • 60 Aaron Barnhart
    It's all fairly paint-by-numbers with a fair amount of physical comedy, yet I couldn't help laughing out loud at times - watching Bynes give a terrier the Heimlich maneuver, for example. [20 Sept 2002, p.E1]
    • 61 Metascore
    • 60 Aaron Barnhart
    [A h]ighly implausible if smartly written hour. [16 Sept 2002, p.E1]
    • 56 Metascore
    • 60 Aaron Barnhart
    While not quite the out-of-the-gate obvious hit that “The West Wing” was, ["Commander In Chief"] has enough going for it that it may soon become America’s favorite soap opera about a president of the United States.