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

John Leonard's Scores

Average review score: 60
Highest review score: 90 Bleak House: Season 1
Lowest review score: 30 Rules of Engagement: Season 1
Score distribution:
  1. Positive: 36 out of 72
  2. Negative: 8 out of 72
72 tv reviews
    • 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.
    • 70 Metascore
    • 70 John Leonard
    The best I can wish for is a vehicle worthy of Parker’s prodigal talents ... By this standard, Showtime’s new sitcom Weeds is at least adequate, verging occasionally on inspired.
    • 45 Metascore
    • 70 John Leonard
    What we have here is accomplished and absorbing television.
    • 72 Metascore
    • 60 John Leonard
    The first five hours feel more soapy than salacious.
    • 71 Metascore
    • 50 John Leonard
    We don’t yet know if Thief will go anywhere surprising.
    • 67 Metascore
    • 70 John Leonard
    When you’ve got Peter O’Toole in a Masterpiece Theatre mini-series, who cares how many liberties teleplaywright Russell T. Davies took with the confabulations of Giovanni Giacomo Casanova?
    • 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.
    • 70 Metascore
    • 60 John Leonard
    Which isn’t to say that State of the Union is merely wicked fun, mean games, and goofy looks. Ullman’s America needs work.
    • 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.
    • 50 Metascore
    • 30 John Leonard
    For anybody to care, college will have to make these crybaby characters a lot more interesting than they are now.
    • 35 Metascore
    • 40 John Leonard
    The show’s not awful, but not Robert Altman, either.
    • 69 Metascore
    • 60 John Leonard
    I suppose some of it is funny, as in a Kafka/Beckett/Pinter soft-shoe shuffle of grotesques. Still, what’s so far much more mesmerizing about The Riches is class war and caste hate.
    • 69 Metascore
    • 60 John Leonard
    Not so funny but genuinely touching.
    • 44 Metascore
    • 40 John Leonard
    The kids in Conviction have so much private life you wonder if you wandered into a Scream movie by mistake.
    • 67 Metascore
    • 50 John Leonard
    In the end, it turns out that Homeland Security so desperately needs Olivia on their side of the freak wars that they show her their top-secret Mulder-Scully-esque X-files and recruit both Bishops as her own mercenary team of pattern pods. And I am the queen of the Nile.
    • 67 Metascore
    • 40 John Leonard
    We go on watching because of Keaton.... Otherwise, The Company is both surprisingly slow and remarkably tendentious.
    • 67 Metascore
    • 80 John Leonard
    State of Mind will be worth a careful watching as much for the writer as for the star.
    • 66 Metascore
    • 50 John Leonard
    With the exceptions of a furious Denis Leary as Michael Whouley, chief political strategist of the Democratic National Committee, and an over-the-top Laura Dern as Katherine Harris, Florida’s hothouse secretary of State, a splendid cast mostly just sits around watching the bad news on television, dutiful to the letter of Danny Strong’s conscientious script yet insufficiently roused to righteous spirit even as, before their eyes, our republic gets banana’d.
    • 65 Metascore
    • 50 John Leonard
    And so far, so-so.
    • 43 Metascore
    • 40 John Leonard
    Although slickly made with a nod to noir between sermonettes, Crash features far too much Dennis Hopper as a drug-addled music producer.
    • 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.
    • 65 Metascore
    • 40 John Leonard
    Sleeper Cell tries laudably to entertain us and to complicate us simultaneously. But we also experience the Stockholm syndrome in reverse. The more time we spend with these people, the less we care about them.
    • 51 Metascore
    • 70 John Leonard
    Despite cast changes, rewrites, and producer musical chairs, this brainy soap checks in with promise.
    • 64 Metascore
    • 70 John Leonard
    Just as we begin to wonder whether Life is intended to be, um, wacky, it takes a darker turn.
    • 64 Metascore
    • 80 John Leonard
    It relies on intelligence and resourcefulness rather than divine providence.
    • 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.
    • 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.
    • 62 Metascore
    • 50 John Leonard
    I like [the characters] all enough to hope they can float this so-far-leaky dirigible.
    • New York Magazine (Vulture)
    • 61 Metascore
    • 70 John Leonard
    Slater, whose career has gone pretty much downhill since "Heathers" (1989) and "Pump Up the Volume" (1990), is surprisingly perfect as both of them, adjusting not much more than the brow of an eye, the curl of a lip, and the hiss of a sibilant to indicate the seismic shift from James Bond to Willy Loman.
    • 36 Metascore
    • 50 John Leonard
    [It] telegraphs its most important punch too early on, and the rest is loud music, strobe lights, nose candy, and debauched dancing.

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