For 160 reviews, this critic has graded:
  • 73% higher than the average critic
  • 3% same as the average critic
  • 24% lower than the average critic
On average, this critic grades 10.1 points higher than other critics. (0-100 point scale)

Chuck Barney's Scores

  • TV
Average review score: 74
Highest review score: 100 Steel Magnolias: Season 1
Lowest review score: 25 I Hate My Teenage Daughter: Season 1
Score distribution:
  1. Negative: 5 out of 160
160 tv reviews
    • 75 Metascore
    • 63 Chuck Barney
    Although the show features strong performances and is piercing in its emotional honesty, it also get bogged down in its own existential angst.
    • 75 Metascore
    • 63 Chuck Barney
    It's a scattershot approach that ultimately undermines what is admirable about Luck, including some gorgeous photography.
    • 71 Metascore
    • 63 Chuck Barney
    It all makes for a scattered, hit-or-miss proposition. Some gags land. Others fall flat.
    • 68 Metascore
    • 63 Chuck Barney
    The good news is that Sunday's two-hour opener answers several key questions in relatively rapid fashion and in ways that don't seem totally unreasonable. The bad news is that it also puts Sarah back at square one, and therein lies the problem.
    • 56 Metascore
    • 63 Chuck Barney
    While these [butt-kicking] scenes contain a certain intensity and exhilaration, you can't help but think that, had the writers of Missing devoted as much time to plot and character as they did to the fighting, they might have wound up with a much more enjoyable show.
    • 64 Metascore
    • 63 Chuck Barney
    The cast around Washington is also quite solid, and the show looks and is refreshingly different from a typical procedural. But it also feels a little too slick and superficial, and those gaps in logic may be a problem for some viewers.
    • 44 Metascore
    • 63 Chuck Barney
    Based on two preview episodes, Anger Management is at least more interesting than "Two and a Half Men" (take that, Ashton Kutcher). That's certainly not saying much, though.
    • 64 Metascore
    • 63 Chuck Barney
    You get sort of an odd, been-there-done-that feeling when watching the pilot, which contains, to varying degrees, traces of "The Hunger Games," "The Walking Dead," "FlashForward," "Jericho," "Lost" (Elizabeth Mitchell is in the cast) and other dystopian fare.
    • 61 Metascore
    • 63 Chuck Barney
    The story piques your curiosity, but it takes too long to gain traction. The characters are certainly functional, but they lack compelling quirks. The subject matter is worthy, but it just doesn't crackle.
    • 45 Metascore
    • 63 Chuck Barney
    This is a show that has its heart in the right place, but is, ironically, pretty mindless.
    • 65 Metascore
    • 63 Chuck Barney
    What we're left with in The Leftovers is a show that, at least early on, is nothing but chaos and dread and bleakness and chill, as it relentlessly delves into the most troubling aspects of human nature.
    • 79 Metascore
    • 60 Chuck Barney
    At its very best, '24' creates an almost tactile sense of tension that no show can match. From one harrowing moment to the next, your pulse races and your skin prickles with apprehension. On the other hand, the show's gimmicky structure forces its writers to keep the plates perpetually spinning, and they often aren't up to the task. [5 Jan 2005]
    • 44 Metascore
    • 60 Chuck Barney
    Judging by the pilot, George Lopez is no laugh riot, but it definitely has its moments, and it's refreshing to find a touch of Mexican-American flavor on TV somewhere other than Showtime and Nickelodeon. [27 Mar 2002, p.D01]
    • 65 Metascore
    • 60 Chuck Barney
    The pilot managed to hold my interest for the most part, and I'll credit Hall for bringing a moody allure to the role...Who knows? The show could still flatline over its 13-episode run, but for now it seems to be alive and kicking. [16 June 2002, p.C4]
    • 64 Metascore
    • 60 Chuck Barney
    The humor in the pilot is anything but razor-sharp: The writers too often confuse coarse language for jokes, and a subplot in which Calvin coaches a Nigerian co-worker on the finer points of the booty call sputters badly. Still, there is promise here, thanks mainly to a collection of intriguing characters. [14 Aug 2005, p.F4]
    • 71 Metascore
    • 60 Chuck Barney
    [There are] moments of pure brilliance--and moments that had me doubled over in mirth.... Unfortunately, there are stretches in this new batch of episodes that feel more flabby than snappy, and there are some lulls that leave you downright fatigued.
    • 69 Metascore
    • 60 Chuck Barney
    The show crackles with witty (and jargony) banter and mostly succeeds at making its tech world fun and engaging -- something Randi Zuckerberg's "Start-Up: Silicon Valley" reality series too often failed to do. But the problem with Betas is that it's an uneven endeavor that's just good enough to make you wish it were better.
    • 54 Metascore
    • 58 Chuck Barney
    Some viewers will be riveted to the sex, violence, beautiful nude bods and sensory gluttony of Spartacus: Blood and Sand. Others will be turned off almost instantly.
    • 49 Metascore
    • 58 Chuck Barney
    Surely it will have Palin lovers rushing to plant wet smooches on the screen and all the haters citing it as proof that TV is, indeed, full of dreck.
    • 66 Metascore
    • 58 Chuck Barney
    Hamming it up big time, William H. Macy plays a booze-addled father of six kids in this uneven drama that seems more intent on taking its pay-cable liberties (nudity, profanity, etc.) to the extreme than weaving an engaging story.
    • 53 Metascore
    • 50 Chuck Barney
    This is by no means a lousy show. The performances are solid and the brothers-working-together dynamic is intriguing. But the pilot lacked dramatic oomph, and it did a poor job of actually taking viewers inside the math and explaining how it works. Consequently, "Numb3rs" just doesn't add up. [22 Jan 2005]
    • 54 Metascore
    • 50 Chuck Barney
    Unfortunately, The Cape fails to fly. Lyons has all the charisma of a fence post, and the leaden scripts bring no fresh twists to the genre.
    • 57 Metascore
    • 50 Chuck Barney
    What's more bothersome about Skins from a critical standpoint is the thin plotting, the aimless narrative, and the generally flat and artificial feel of the production.
    • 33 Metascore
    • 50 Chuck Barney
    Very little of it feels fresh or funny. Nor does Allen's character strike me as someone viewers would want to spend a great deal of time with.
    • 30 Metascore
    • 50 Chuck Barney
    Unfortunately, no one pops off the screen the way Farrah once did.
    • 40 Metascore
    • 42 Chuck Barney
    The problem is there's nothing here that hasn't been done before, and often done better. Even more disheartening: The cast, which includes Matt Long and Billy Zane, is stocked with forgettable and/or boorish characters.
    • 28 Metascore
    • 42 Chuck Barney
    $#*! My Dad Says feels hopelessly old school. It relies on a stock sitcom character--the crabby dad--that we've seen over and over. It mainly anchors itself to a claustrophobic sitcom-y living room, and it relies too heavily on a tired, rat-a-tat setup/punchline delivery.
    • 63 Metascore
    • 40 Chuck Barney
    In desperately straining to be so uncommonly edgy, so explicit and so provocative in its sexual candor, the show all but tramples its dramatic structure in the process. [3 Dec 2000, p.C05]
    • 58 Metascore
    • 40 Chuck Barney
    1) It's not all that funny, which could be a problem considering it's supposed to be a comedy, and 2) It continues a rather arrogant presumption on the part of show-biz types that we're all ceaselessly interested in the inner workings of their industry. [4 June 2005, p.C01]
    • 62 Metascore
    • 40 Chuck Barney
    The stars (Trista Sutter, John O'Hurley and Joey McIntyre, et al.) are strictly marginal. The host (Tom Bergeron) is excruciatingly lame. And the dancing is only sporadically scintillating. [26 Jun 2005]