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 4.7 points lower than other critics. (0-100 point scale)

Howard Rosenberg's Scores

Average review score: 60
Highest review score: 100 L.A. Law: 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
    • 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."
    • 53 Metascore
    • 50 Howard Rosenberg
    Oft-funny but problematic. ... {The] humor ranges from inspired to cheap and sophomoric. [29 Jan 1999]
    • Los Angeles Times
    • 66 Metascore
    • 50 Howard Rosenberg
    It's an enigma, at the very least uneven.
    • 55 Metascore
    • 50 Howard Rosenberg
    The Guardian, despite having some promise, wears prominently on its forehead the scarlet "P" of predictability. You can be fairly certain that not only will Fallin make this difficult situation work, but that he'll be a better man for it. [25 Sept 2001, p.C2]
    • Los Angeles Times
    • 54 Metascore
    • 50 Howard Rosenberg
    The best thing Criminal Intent did was dump its low-brow, lower-IQ pilot. What remains, though, is routine at best, the violent master criminal planning a million-dollar diamond heist in the premiere naturally proving no match for the brilliant, X-ray-sighted Goren.
    • 34 Metascore
    • 50 Howard Rosenberg
    More often than not, however, most of the laughs are junior too.
    • 71 Metascore
    • 50 Howard Rosenberg
    What it all adds up to tonight, unfortunately, is something akin to a very slow camel or burro ride across long stretches of arid desert. There's dialogue galore, but comparatively little action and virtually no suspense.
    • 25 Metascore
    • 40 Howard Rosenberg
    Now and then you hear yourself laughing out loud. More often, though, this plays like a one-joke series that keeps repeating the same punch line. [6 Oct 2000, p.F28]
    • Los Angeles Times
    • 74 Metascore
    • 40 Howard Rosenberg
    It tops out at mildly funny and is infrequently even that, suffering from clashing tones and from too much Wuhl. [10 Aug 1996, p.F6]
    • Los Angeles Times
    • 51 Metascore
    • 40 Howard Rosenberg
    The new cast is fine (Stewart is a very interesting actor) and the story, although not very deep, inspired or mind-melding, has a nice payoff. But getting there takes much too long. ... Although handsome, this is a slow, thudding two hours badly in need of energizing.
    • 61 Metascore
    • 40 Howard Rosenberg
    Quantum Leap for the most part is so excruciatingly slow and laborious that you wonder if director David Hemmings was trapped in his own time warp. Yet Bakula does nicely, and the story ultimately accelerates and even yields some very affecting moments as Beckett intrudes on his own past. [25 Mar 1989, p.C6]
    • Los Angeles Times
    • 72 Metascore
    • 40 Howard Rosenberg
    Initially sleek and stylish but empty. [23 Sep 1992]
    • Los Angeles Times
    • 62 Metascore
    • 40 Howard Rosenberg
    The premiere has a nice look, but not nice enough to compensate for a plot that lacks suspense and features a mystery whose culprit should be so obvious that you may suspect a red herring. [22 Sep 1995]
    • Los Angeles Times
    • 72 Metascore
    • 40 Howard Rosenberg
    "I'll Fly Away" makes it easy for us, relegating racism to a time and region that we can confront comfortably, steeping ourselves in self-righteousness as the series steeps itself in self-importance. ... Waterston and especially Harper give performances in these early episodes that bode well for whatever future "I'll Fly Away" has in its perilous time slot. But by the time the premiere has ended and Waterston gives his final pensive pause, you'll be the one wanting to fly away.
    • 57 Metascore
    • 40 Howard Rosenberg
    The bickering of the brothers -- who spend most of the half hour trying run down an anticipated inheritance from their deceased father -- quickly flattens into a tedious monotone. Loosen your seat belts. [19 Apr 1990, p.F10]
    • Los Angeles Times
    • 58 Metascore
    • 40 Howard Rosenberg
    Fresh Prince of Bel Air is being touted as a sure hit. If it becomes one, it will be because of the raw likability of its star, rapper Will Smith, not because of his acting skills or even anything that's been written for him in this NBC comedy. [10 Sept 1990, p.F9]
    • Los Angeles Times
    • 54 Metascore
    • 40 Howard Rosenberg
    The premiere of Designing Women...provides fewer answers than indications. And the indications are that even good performers in an appealing setting won't make Designing Woman funny without better-designed scripts. Snappy, yes. Laughs, no.
    • 60 Metascore
    • 40 Howard Rosenberg
    Although its inconsistencies begin to spread gratingly as it heads into its second half hour, "Against the Grain" is fairly pleasant viewing until it impales itself on its artificial, unrealistically giddy ending.
    • 64 Metascore
    • 30 Howard Rosenberg
    [They] don't begin to capture the period beyond its thin patina, and even worse, they are simply not funny...Some arresting visual techniques here, but the writing is heavy-handed, the humor broad and labored, and some of the acting way over the top. [22 Aug 1998, p.F1]
    • Los Angeles Times
    • 41 Metascore
    • 30 Howard Rosenberg
    Insipid. [20 Sept 2002, p.C1]
    • Los Angeles Times
    • 72 Metascore
    • 30 Howard Rosenberg
    As always with these shows, skepticism is advised about the "reality" of "Amazing Race," from camera positioning to participants hamming it up for the lens while embarking on what Keoghan, in an upchuck of host hype, calls "the most daring competition ever attempted." [5 Sep 2001]
    • Los Angeles Times
    • 46 Metascore
    • 30 Howard Rosenberg
    A ZIP code for stereotypes and stock characters, Beverly Hills, 92010 is nothing if not predictable, with the twins each facing moral choices and ultimately doing the right thing, presumably because they're from Minneapolis. [4 Oct 1990, p.F11]
    • Los Angeles Times
    • 84 Metascore
    • 30 Howard Rosenberg
    Olin is fine as undercover cop Cameron Quinn, as is Jason Gedrick... as recent parolee Danny Rooney... But everything else in this two-hour opener falls hard, from the artificial conflicts that serve the script, but not logic, to the merciless bloating during which nothing happens but mood music, to the needless violence and softening of homicide with clumsy humor. These cadences don't come close to harmonizing.
    • 24 Metascore
    • 30 Howard Rosenberg
    As a concept, "Woops!" has satirical possibilities. But they aren't realized in the premiere.
    • 73 Metascore
    • 30 Howard Rosenberg
    This is superficiality and pseudo-hipness gussied up in gloss.
    • 53 Metascore
    • 30 Howard Rosenberg
    The evening's funniest show on CBS, though, is a drama, The Equalizer. [18 Sept 1985, p.6]
    • Los Angeles Times
    • 56 Metascore
    • 30 Howard Rosenberg
    The notion that a two-bit pug with Geraldo Rivera's swagger could work his way into the highest echelons of organized crime is absurd, but consistent with the rest of the story. It's a tossup which has more holes, the plot or the bodies that pile up here in one of those all-purpose, everyone-gets-blown-away-who-deserves-to-get-blown-away endings...With any luck, this show is history.
    • 63 Metascore
    • 30 Howard Rosenberg
    No Boy Scout leaders in this bathhouse of a crowd, just relentless cruising and graphically simulated sex, at the expense of character depth, in an assembly line of orgasms ultimately as tedious as it would be if the humpers and thumpers were straight instead of gay.
    • 30 Metascore
    • 30 Howard Rosenberg
    It's the Mickeyspeak -- reacting to his mother and schmoozing with other adult-sounding infants -- on which the comedy mostly hinges. And except for some Shakespearean dialogue given a sniffy infant actor next week, the baby talk is strained and unfunny.
    • 53 Metascore
    • 30 Howard Rosenberg
    Alien Nation is covered with ooze. For one thing, it's about as subtle as an AK-47. For another, its aliens lack interest because -- except for looking a little different and humming like tuning forks when engaged in sexual foreplay -- they're almost human clones.

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