For 38 reviews, this critic has graded:
  • 44% higher than the average critic
  • 5% same as the average critic
  • 51% lower than the average critic
On average, this critic grades 4.7 points lower than other critics. (0-100 point scale)

Aaron Riccio's Scores

Average review score: 62
Highest review score: 100 The L.A. Complex: Season 2
Lowest review score: 0 Zero Hour: Season 1
Score distribution:
  1. Positive: 25 out of 38
  2. Negative: 10 out of 38
38 tv reviews
    • 92 Metascore
    • 75 Aaron Riccio
    When it gets past such clunkiness, Homeland is eerily effective.
    • 88 Metascore
    • 63 Aaron Riccio
    For all the talk about the expense of recreating the boardwalk for the show, Atlantic City isn't a character the way it could or should be; most of the action takes place in back alleys and hotel rooms.
    • 84 Metascore
    • 88 Aaron Riccio
    Treme gives you the best, then, of dramas and documentaries: a moving snapshot of a city, and its flesh-and-blood people, in transition.
    • 82 Metascore
    • 88 Aaron Riccio
    The dangerously entertaining Legion is a volatile mix of complete chaos and complete control.
    • 79 Metascore
    • 75 Aaron Riccio
    Lights Out isn't a knockout, but it's got enough grit and sweat to keep viewers on their toes.
    • 79 Metascore
    • 75 Aaron Riccio
    While the show's certainly grown more tightly plotted in the last several seasons, especially after cutting the number of episodes down to 10 and reducing (often via murder) the number of secondary characters, Damages is still suffering from some seemingly needless bloat.
    • 78 Metascore
    • 63 Aaron Riccio
    It'll take every ounce of writer/creator Joe Weisberg's strength to keep this from seeming like a watered-down Homeland, or, worse, a film idea stretched across 13 hours.
    • 76 Metascore
    • 25 Aaron Riccio
    Apart from a few dry, ashy chuckles conjured up by memories of what Rescue Me once was, this final season is about as useful as a lighter in a vacuum: Forget fresh air, there's no air left on which to cast a spark.
    • 76 Metascore
    • 88 Aaron Riccio
    Rather than waiting for a future payoff, Fringe is cashing in with every episode, showing us the escalating war between worlds-and with likeable characters and compelling cases to boot. Ironically, it's by branching out in two different directions that the show has become, more than ever, the centerpiece of a hypercompetitive Thursday night lineup.
    • 76 Metascore
    • 63 Aaron Riccio
    When it's at the top of its game, Dexter brings True Blood to mind, subverting conventions of horror and violence to mock the various accoutrements of "normal" suburban life. With stepchildren Astor (Christina Robinson) and Cody (Preston Bailey) relegated to their grandparents' house, and with an Irish maid, Sonya (Maria Doyle Kennedy), caring for Harrison, the show loses some of its charm.
    • 74 Metascore
    • 38 Aaron Riccio
    There's too much meandering without meaningful payoffs.
    • 74 Metascore
    • 75 Aaron Riccio
    Beneath that bloody surface [where guests indulge their most violent and debauched selves] is a cerebral drama intent on questioning such base desires.
    • 71 Metascore
    • 75 Aaron Riccio
    Thanks to the exciting new chemistry on the show, Human Target can now find complications within the ensemble, and not just within each week's set piece.
    • 70 Metascore
    • 50 Aaron Riccio
    The chilling threat of Miracle Day involves a power strong enough to "force people into life," and one can only hope that in future installments, Davies and company are smart enough to realize that they shouldn't try to force square actors into circular plots.
    • 70 Metascore
    • 75 Aaron Riccio
    The result is a leaner, scrappier 24 that is both firmly within its comfort zone--the unstoppable Jack, unflinchingly facing interrogators and taking down three guards while handcuffed--and somehow outside it, with Jack and the other returning characters more readily showing the wear and tear of their profession.
    • 67 Metascore
    • 12 Aaron Riccio
    Nikita is just another bland spy drama, an excuse to put women in skimpy outfits--Alias without a heart, Chuck without the sense of humor, and Covert Affairs without the good casting.
    • 66 Metascore
    • 25 Aaron Riccio
    There isn't a single interesting person in CBS's dud-on-arrival Person of Interest; at best, there's only a single interesting idea.
    • 65 Metascore
    • 88 Aaron Riccio
    It's arresting and criminally entertaining.
    • 65 Metascore
    • 63 Aaron Riccio
    In truth, the whole cast helps to elevate overly clever dialogue.
    • 64 Metascore
    • 88 Aaron Riccio
    Even with the hasty resolution of some storylines, the season's last few episodes still end up feeling overstuffed. They never, however, feel aimless.
    • 64 Metascore
    • 75 Aaron Riccio
    Strike Back isn't brilliant television, but it's plenty entertaining, and by fitting the action of 24 with the grit of The Unit (and the nudity of Cinemax), it fills a .22 caliber hole in American television.
    • 64 Metascore
    • 75 Aaron Riccio
    Creators Alexandra Cunningham (who lit slow fuses on Desperate Housewives) and Kem Nunn (who played a similar long game on John from Cincinnati) have crafted a tersely cerebral drama in which not a single frame feels unintentionally out of place.
    • 61 Metascore
    • 88 Aaron Riccio
    Character, not concept, drives BrainDead. The Kings have always stacked their deck with talented, scene-stealing stage actors, and that serves both the bombastic, egoistic orators of D.C. and the everyday eccentrics.
    • 58 Metascore
    • 100 Aaron Riccio
    Well written and acted, almost perfectly paced, and entirely unlike anything else on television, Spartacus isn't just bloody good, it's bloody excellent.
    • 58 Metascore
    • 38 Aaron Riccio
    Unwilling to really shake things up, the writers have instead drained the life out of their own series, and what's left is merely a desiccated reminder of something that was once entertaining.
    • 57 Metascore
    • 12 Aaron Riccio
    Whereas The Evil Dead‘s Ash was capable of change, Stan’s nothing more than an insufferably sexist and homophobic throwback, willing to risk everyone’s life in order to prove that Starsky and Hutch were secretly gay.
    • 56 Metascore
    • 38 Aaron Riccio
    So while the one-liners are sub-CSI: Miami ("Time to upgrade," quips Becca as she overrides a security system; "Oh, no," she monotones upon discovering a corpse), the cinematography and fight choreography serve to at least temporarily keep both the audience and cast breathless.
    • 56 Metascore
    • 75 Aaron Riccio
    The Newsroom is a message-driven delight--at least for liberals--that's bogged down by uninteresting characters.
    • 56 Metascore
    • 88 Aaron Riccio
    As the tactics of these two characters [Marcus Crassus and Spartacus] grow all but indistinguishable, it becomes clear why this final season is labeled War of the Damned, and all but guarantees that while their fighting will lead to a bitter end, it will lead viewers to the most savory of conclusions.
    • 56 Metascore
    • 50 Aaron Riccio
    The result is both good and bad: On the one hand, Weeds feels fresh again. On the other, the writers still don't know what sort of show they're making, and the supporting cast keeps getting shoehorned into new roles.

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