David Hiltbrand

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For 189 reviews, this critic has graded:
  • 57% higher than the average critic
  • 6% same as the average critic
  • 37% lower than the average critic
On average, this critic grades 0.7 points lower than other critics. (0-100 point scale)

David Hiltbrand's Scores

Average review score: 66
Highest review score: 100 Mad Men: Season 6
Lowest review score: 20 The Millers: Season 1
Score distribution:
  1. Negative: 13 out of 189
189 tv reviews
    • 88 Metascore
    • 83 David Hiltbrand
    The episodes have grown slower and schmaltzier since the gripping pilot, but this series is still as sweet as an egg cream made with Fox's U-Bet Chocolate Syrup.
    • 71 Metascore
    • 80 David Hiltbrand
    Both Harry's life and his work are messy and complicated. The series lets both aspects breathe, without pushing for neat resolutions.
    • 72 Metascore
    • 80 David Hiltbrand
    The leads are extraordinary. Ireland brings a nervy and riveting conviction to the role of the advocate. For Gupton (NBC's Prime Suspect), this is a charismatic, career-making role, and the most potent inducement to watch The Divide.
    • 82 Metascore
    • 80 David Hiltbrand
    The almost contemplative tone of the piece makes the suspenseful moments jump off the screen. But the pace, which is decidedly deliberate to begin with, slows about halfway through, as the political becomes deeply personal.
    • 78 Metascore
    • 80 David Hiltbrand
    The Americans may be a tricky concept to sustain, because it means bringing the protagonists to the very brink of discovery on a regular basis. But for now, it's a daring tightrope walk, full of action and suspense.
    • 77 Metascore
    • 80 David Hiltbrand
    It's artfully directed, but intensely grisly. And its atmosphere is far more coherent than its sometimes sketchy narrative. But it does string you along. With barbed wire.
    • 71 Metascore
    • 80 David Hiltbrand
    It's quick, quippy, and quite funny.
    • 68 Metascore
    • 80 David Hiltbrand
    Extant has a clever concept that would probably work better on a bigger screen (especially the orbital scenes). But it's thoroughly entertaining--even if you wind up watching it on your shrinky-dink cellphone.
    • 69 Metascore
    • 80 David Hiltbrand
    Like The Office, The Mindy Project trades deftly on the humor of excruciating awkwardness.
    • 73 Metascore
    • 80 David Hiltbrand
    The pilot of Arrow is a darkly gleaming gem. If the show can keep up its cinema-quality action sequences and maintain an air of mystery to Ollie's agenda, this could be a really fun series.
    • 85 Metascore
    • 80 David Hiltbrand
    You don't have to like country to enjoy Nashville with its twisty plot threads of ego, sex, ambition, backstabbing and regret.
    • 67 Metascore
    • 80 David Hiltbrand
    [A] cleverly written show.
    • 51 Metascore
    • 80 David Hiltbrand
    This mini reproduces the movie's singular feat of being scary without being graphic, accomplishing more with mood and suggestion than overt shocks.
    • 62 Metascore
    • 80 David Hiltbrand
    Gracepoint is artsy both in its painterly look and in its treatment. The story rolls out with daring forbearance, almost as if it's transpiring in real time.
    • 75 Metascore
    • 80 David Hiltbrand
    Ray Donovan generates an authentic and convincing noir atmosphere, something rarely accomplished in the medium.
    • 72 Metascore
    • 80 David Hiltbrand
    Campy, creepy, and convincing, The Strain is oddly riveting, with a gleeful, pulpy momentum propelling the plot.
    • 74 Metascore
    • 80 David Hiltbrand
    Last Resort is going to need that rich blend of characters and plots. The pilot is sensational--a suspenseful, cinema-quality grabber.
    • 56 Metascore
    • 80 David Hiltbrand
    Strange, off-the-wall, and even slightly mad.
    • 73 Metascore
    • 80 David Hiltbrand
    Stylishly directed, Elementary is one loaded show, including its wonderful, well-matched leads.
    • 77 Metascore
    • 80 David Hiltbrand
    Crossfire Hurricane is deeply enjoyable for the songs--from "She's a Rainbow" to "Brown Sugar"--and for the extraordinary trove of archival film it has assembled.
    • 73 Metascore
    • 80 David Hiltbrand
    The series nails everything that NBC's Smash failed to do with the world of Broadway theater last year, providing a rollicking backstage look at the crazy, temperamental people engaged in artistic expression.
    • 73 Metascore
    • 80 David Hiltbrand
    Encore offers Thorne: Sleepyhead, a powerful and gripping British import starring David Morrissey as Detective Inspector Tom Thorne.
    • 72 Metascore
    • 80 David Hiltbrand
    Welcome to Sweden is engaging for its exotic Scandinavian setting and warm visual style. It's a winning mix of low-key charm and robust humor.
    • 42 Metascore
    • 80 David Hiltbrand
    Labyrinth is most remarkable as a curiosity: a thorny theo-historical miniseries with unusual European pacing and flavor airing on an incongruous venue the week after the TV season has ended.
    • 80 Metascore
    • 80 David Hiltbrand
    Wallander, as you might expect, has a very Scandinavian tone, full of gray landscapes and characters shot through murky panes of glass. But the acting is excellent, down to supporting-cast members.
    • 73 Metascore
    • 80 David Hiltbrand
    The show is wonderfully conceived and executed (if a little pokey pace-wise).
    • 63 Metascore
    • 80 David Hiltbrand
    Exciting and twisty, Crisis is the show that CBS thought it had at the start of the season with Hostages.
    • 61 Metascore
    • 80 David Hiltbrand
    It's fast and funny. As long as Ryan continues to mix humor from the cute and the curdled sides of the aisle, this show will entertain.
    • 59 Metascore
    • 80 David Hiltbrand
    It's still as irresistible as a bowl of pistachios.
    • 62 Metascore
    • 80 David Hiltbrand
    The pilot rivals anything you'll see at the cineplex in terms of acting, surprise, and suspense. You will go into each commercial break with your heart in your throat. But what really makes The Following more like a feature film than a primetime program is its extravagant, emphatic savagery.

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