Howard Rosenberg
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For 146 reviews, this critic has graded:
  • 44% higher than the average critic
  • 2% same as the average critic
  • 54% lower than the average critic
On average, this critic grades 4.8 points lower than other critics. (0-100 point scale)

Howard Rosenberg's Scores

Average review score: 60
Highest review score: 100 CSI: Season 1
Lowest review score: 0 America's Funniest Home Videos: Season 1
Score distribution:
  1. Positive: 75 out of 146
  2. Negative: 38 out of 146
146 tv reviews
    • 75 Metascore
    • 70 Howard Rosenberg
    There's something not quite right about this show's approach to homosexuality.
    • 79 Metascore
    • 70 Howard Rosenberg
    At least initially, don't expect balance in other areas, either, for one of the religious right characters showing up tonight is a ruthless fanatic, the other a toady. That's politics, in Hollywood as well as Washington, D.C. [22 Sept 1999, p.F1]
    • Los Angeles Times
    • 38 Metascore
    • 70 Howard Rosenberg
    Breezy, smart-alecky fun.
    • 74 Metascore
    • 70 Howard Rosenberg
    The cast is good, the stories arresting and the characters compelling. ... "The Practice" is a good series stopped mostly by its predictability from being very, very good.
    • 51 Metascore
    • 70 Howard Rosenberg
    Demonstrates how funny writing and good execution can supersede a hackneyed series concept. [21 Sept 1998, p.F1]
    • Los Angeles Times
    • 74 Metascore
    • 70 Howard Rosenberg
    Love, maybe not. But there's much to like, starting with Romano himself.
    • 72 Metascore
    • 70 Howard Rosenberg
    The premiere has the wonderfully distinctive geekiness but not the toothy bite of "The Simpsons," which was something spectacular to behold from the moment Homer uttered his first "Dohhhhhh!" There are some nice bits of amusement here, however, and surely the potential for growth.
    • 88 Metascore
    • 70 Howard Rosenberg
    Speaks with a more authentic teen voice than other series in this genre, becoming an antidote for WB's "Dawson's Creek," whose articulate, sophisticated high schoolers are adults in youthful bodies...The downside is that situations and characters here are so overdrawn, little space remains for subtlety or nuance. [25 Sept 1999, p.F1]
    • Los Angeles Times
    • 65 Metascore
    • 70 Howard Rosenberg
    There is something highly appealing about this atmospheric CBS series.
    • 74 Metascore
    • 70 Howard Rosenberg
    Tender and sometimes humorously bent. Yes, some very nice moments in initial installments of its 13-episode commitment from HBO, but nothing shooting you to the moon. [1 June 2001, p.C1]
    • Los Angeles Times
    • 59 Metascore
    • 70 Howard Rosenberg
    Each episode is supposed to represent 22 minutes in Ellie's life. That's nice, but an ever-present clock on the side of the screen is a gimmick that should be dropped. Otherwise, this show has a very nice comfort level. Best of all, it feels fresh.
    • 75 Metascore
    • 70 Howard Rosenberg
    This is nothing to build a night around. Yet the cast is good, action is crisp, flashbacks are seamlessly interwoven and dialogue is terse and effective.
    • 69 Metascore
    • 70 Howard Rosenberg
    Step by step, it's all very fascinating and as well-produced as television gets.
    • 55 Metascore
    • 70 Howard Rosenberg
    Mainly it's sort of gentle and nice...Do viewers want gentle and nice? That's to be determined. In any case, call "Madigan Men" promising. [6 Oct 2000, p.F28]
    • Los Angeles Times
    • 64 Metascore
    • 70 Howard Rosenberg
    Even though his relentless boyishness and flight from adult reality at times wears thin, Dave is a comfortable character, as well as being a nice fit for Anderson, who performs here with confidence and ease.
    • 69 Metascore
    • 60 Howard Rosenberg
    Moderate achievement. [6 Oct 2000, p.F1]
    • Los Angeles Times
    • 70 Metascore
    • 60 Howard Rosenberg
    Its uniqueness and arresting style don't earn it an unqualified endorsement here, for its first two Fontana-written episodes are absolute downers--there's no light at the end of a tunnel, nor even a tunnel--that offer no central characters to like or pull for...Be forewarned, too, that Oz is flat-out the most violent and graphically sexual series on TV. By contrast, it makes ABC's "NYPD Blue" look and sound like dancing Barney. [12 July 1997, p.F2]
    • Los Angeles Times
    • 52 Metascore
    • 60 Howard Rosenberg
    Laughs rarely equal the sum of the gimmickry in "3rd Rock." ... Yet the first three episodes do have their amusing moments. [9 Jan 1996]
    • Los Angeles Times
    • 68 Metascore
    • 60 Howard Rosenberg
    It totes a few smiles, but little to bowl you over, and it takes a spell getting used to.
    • 72 Metascore
    • 60 Howard Rosenberg
    "Murphy Brown" doesn't exactly sizzle in its debut. ... It is a show you'd like to see again, however, which is more than you can say for much of the TV genre it caricatures.
    • 69 Metascore
    • 60 Howard Rosenberg
    It's pleasant enough, but unremarkable. Although from the same production team, it doesn't approach the warmth, tenderness, charm and seamlessness of the 1997 film.
    • 53 Metascore
    • 60 Howard Rosenberg
    This is one of those broadly played comedies that needs reining in and writing sharper than having Ritter play super dad in what, essentially, is a single-parent comedy.
    • 60 Metascore
    • 60 Howard Rosenberg
    Although the characters are too inconsistent to be entirely believable and often act too inanely to be respected, there are enough nice moments here to lift "The Outsiders" above the ordinary and give it promise.
    • 65 Metascore
    • 60 Howard Rosenberg
    Potts has some nice moments. Even an actress as able as she, though, ultimately buckles under the tonnage of this character's supremacy, and strong supporting work from Greg Serano, Tamala Jones and Vicellous Reon Shannon as the students she takes under her wing is not enough to shore her up. [30 Sept 1996, p.F10]
    • Los Angeles Times
    • 54 Metascore
    • 60 Howard Rosenberg
    Although it's suspenseful, and Gedrick performs ably in the role that Johnny Depp played on the big screen, this latest series about an FBI agent's perilous double life isn't even in the same galaxy as "The Sopranos."
    • 58 Metascore
    • 50 Howard Rosenberg
    The premiere has a nice look, and its "Rashomon"-style flashbacks are very well shot. It also features a socko ending and one ingenious bit of plotting involving thieving hookers. Yet the storytelling is often muddy, and sorting out characters and determining who does what is more of a challenge than the episode is worth. [6 Oct 2000, p.F1]
    • Los Angeles Times
    • 66 Metascore
    • 50 Howard Rosenberg
    It's an enigma, at the very least uneven.
    • 84 Metascore
    • 50 Howard Rosenberg
    Watchable but disappointing. [21 Sept 1993, p.F1]
    • Los Angeles Times
    • 54 Metascore
    • 50 Howard Rosenberg
    This split-personality series that speaks with two voices: one thoughtful and intelligent, the louder one glib and derivative. [29 Sept 1999, p.F6]
    • Los Angeles Times
    • 77 Metascore
    • 50 Howard Rosenberg
    Glimmers of good acting peep through this maze of melodrama. Yet "St. Elsewhere" practiced more interesting medicine, and Kelley's Emmy-laden "Picket Fences" is bolder and more likable. More significant, so is "ER."

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