For 72 reviews, this critic has graded:
  • 47% higher than the average critic
  • 2% same as the average critic
  • 51% lower than the average critic
On average, this critic grades 4.6 points lower than other critics. (0-100 point scale)

John Leonard's Scores

Average review score: 60
Highest review score: 90 Everybody Hates Chris: Season 1
Lowest review score: 30 Back to You: Season 1
Score distribution:
  1. Positive: 36 out of 72
  2. Negative: 8 out of 72
72 tv reviews
    • 88 Metascore
    • 90 John Leonard
    The best of the new fall sitcoms.
    • 93 Metascore
    • 90 John Leonard
    Splendid television.
    • 70 Metascore
    • 80 John Leonard
    Entertaining... What [Nagy] has done is tailor this tabloid material to several different narrative tastes, which alternate as the movie shifts from love affair to temper tantrum to gunfire to murder trial and back again.
    • 67 Metascore
    • 80 John Leonard
    State of Mind will be worth a careful watching as much for the writer as for the star.
    • 64 Metascore
    • 80 John Leonard
    It relies on intelligence and resourcefulness rather than divine providence.
    • 70 Metascore
    • 80 John Leonard
    Dark comedy suits insouciant Duchovny.... Here he delivers a tousled sort of aw-shucks Huck Finn, lighting out for erotic territories. McElhone, à la Rene Russo, manages to convey the notion of adult womanhood without being either drippy or schoolmarmish about it.
    • 52 Metascore
    • 80 John Leonard
    San Francisco shifts shapes nicely, and there’s sufficient tension in the pilot to keep our nerves strung out, and since executive producers Kevin Falls and Alex Graves are West Wing veterans, it’s no surprise that the characters pass for adults.
    • 86 Metascore
    • 80 John Leonard
    Pushing Daisies will drive you crazy or make you smile.
    • 80 Metascore
    • 80 John Leonard
    With a calculation of word and image that’s almost elegant, Five Days gives us sociology and anthropology instead of shock and awe.
    • 51 Metascore
    • 80 John Leonard
    Laura Harris as Jill Bernhardt, the platinum-blonde district attorney, Paula Newsome as Claire Washburn, the surprisingly jolly medical examiner, and Aubrey Dollar as Cindy Thomas, the impossibly young newspaper reporter, do not add up to a Kaffeeklatsch or a therapy group. I’m not saying that they don’t occasionally discuss emotions (usually Angie/Lindsay’s), but it’s more grad-school seminar than touchy-feely hot-tub hangout.
    • 78 Metascore
    • 80 John Leonard
    Project Runway appears to have saved itself (and its audience from boredom) by showcasing a crop of designers that is--as Gunn has not unjustly declared--"the strongest group ever."
    • 89 Metascore
    • 80 John Leonard
    In these last innings, as The Wire ties up its gnarled threads, it also makes its most daring departure yet, introducing yet another institution, and a brand-new cast of characters to disappoint us.
    • 74 Metascore
    • 80 John Leonard
    The Sarah Connor Chronicles is mostly chase scenes. And very nicely staged they are, by director–executive producer David Nutter (Supernatural, Smallville), an adrenaline junkie equally adept at terrorizing a classroom, blowing up a city, rebooting a cyborg, or time-warping a bank vault.
    • 63 Metascore
    • 80 John Leonard
    The resulting series features trick photography, murder, romance, and--much like the Fox "Terminator" series--more clever ideas and witty jokes, not to mention cool jazz, than the audience expects or deserves.
    • 78 Metascore
    • 80 John Leonard
    We’re in excellent company, from the Boston Massacre to the Declaration of Independence to Adams’s plenipotentiary missions to Versailles and the Court of St. James to his unsought but extremely gratifying vice-presidency in the first Washington administration.
    • 68 Metascore
    • 80 John Leonard
    The Reformation is what this equally entertaining second season is about, plus ditching the brunette, Anne Boleyn (Natalie Dormer), in favor of the blonde, Jane Seymour (Anita Briem).
    • 80 Metascore
    • 80 John Leonard
    Meanwhile, some remarkable television has been made. To report on a new generation of young warriors raised on hip-hop, heavy metal, and video games, Wright went to Iraq as Michael Herr before him had gone to Vietnam, like Dante to hell with a cassette recording of Jimi Hendrix.
    • 63 Metascore
    • 80 John Leonard
    Although generally witty, always absorbing, and invariably violent, True Blood isn’t really a big surprise until its fifth hour.
    • 89 Metascore
    • 80 John Leonard
    We stay interested because executive producers Graham Yost (Speed) and Jon Avnet (Fried Green Tomatoes) know what they're doing and have conscripted a crackerjack cast to do it.
    • 65 Metascore
    • 70 John Leonard
    A preposterous premise...only somewhat distracts from an agreeable escapism and first-rate performances by Wentworth Miller and Dominic Purcell.
    • 55 Metascore
    • 70 John Leonard
    As science and as detection, Bones has a way to go before it's more than a bug in Grissom's Vegas eye. But the screwball romance is promising.
    • 77 Metascore
    • 70 John Leonard
    We have to put up with characters whose brainpower compares unfavorably with a fire hydrant, but Lee is funny even in a gay bar.
    • 81 Metascore
    • 70 John Leonard
    [Mirren] delivers big-time... Congratulations should also go to Nigel Williams, whose screenplay for Elizabeth I is as sassy as Tom Stoppard’s was for Shakespeare in Love.
    • 85 Metascore
    • 70 John Leonard
    What makes Deadwood so fascinating is not the action we put up with; it’s the language we listen to.
    • 51 Metascore
    • 70 John Leonard
    Despite cast changes, rewrites, and producer musical chairs, this brainy soap checks in with promise.
    • 75 Metascore
    • 70 John Leonard
    Everybody... will love Betty as much as her widowed father does.
    • 45 Metascore
    • 70 John Leonard
    What we have here is accomplished and absorbing television.
    • 73 Metascore
    • 70 John Leonard
    You may be surprised to hear that it works.
    • 66 Metascore
    • 70 John Leonard
    Dirty Sexy Money so far lacks either Aaron Sorkin’s Gatling-gun wit or Alan Ball’s mordant mortuary humor.... That’s the bad news. The good news about Dirty Sexy Money is that we sorely require a show of its sort.
    • 64 Metascore
    • 70 John Leonard
    Just as we begin to wonder whether Life is intended to be, um, wacky, it takes a darker turn.

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