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 5 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 Freddie: Season 1
Score distribution:
  1. Positive: 36 out of 72
  2. Negative: 8 out of 72
72 tv reviews
    • 51 Metascore
    • 70 John Leonard
    Despite cast changes, rewrites, and producer musical chairs, this brainy soap checks in with promise.
    • 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.
    • 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.
    • 45 Metascore
    • 70 John Leonard
    What we have here is accomplished and absorbing television.
    • 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?
    • 73 Metascore
    • 70 John Leonard
    Not enough of Breaking Bad was available for preview to decide whether the supporting cast will eventually satisfy as much as "Weeds" regulars like Elizabeth Perkins, Kevin Nealon, Tonye Patano, and Justin Kirk, but Cranston’s Walter is already a winner.
    • 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.
    • 57 Metascore
    • 60 John Leonard
    The unnecessary reimagining from executive producer David Eick, is a lot darker than the 1976 original
    • 73 Metascore
    • 60 John Leonard
    This is a flabbergasting cast, so far called upon to do not much besides posturing. But my fingers are crossed, and my eyes too.
    • 69 Metascore
    • 60 John Leonard
    Not so funny but genuinely touching.
    • 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.
    • 72 Metascore
    • 60 John Leonard
    The first five hours feel more soapy than salacious.
    • 53 Metascore
    • 60 John Leonard
    Like Huck and Jim, or Ishmael and Queequeg, Crusoe and Friday embody the triumph of homoerotic male bonding over the steeps of race, culture, and ethnicity.
    • 81 Metascore
    • 60 John Leonard
    Reaper is strictly for fans of movies like Superbad.
    • 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)
    • 48 Metascore
    • 50 John Leonard
    Raising the Bar is professional television, but no more than that. Passion and purpose are among the missing.
    • 49 Metascore
    • 50 John Leonard
    K-Ville’s co–executive producers are both cop-show veterans--Jonathan Lisco of NYPD Blue and The District, Craig Silverstein of Bones and Standoff--who know how to yank our chains with close-ups, jump cuts, booster shots of adrenaline, and low-rent noir.
    • 65 Metascore
    • 50 John Leonard
    And so far, so-so.
    • 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.
    • 71 Metascore
    • 50 John Leonard
    We don’t yet know if Thief will go anywhere surprising.
    • 57 Metascore
    • 50 John Leonard
    The show seems to take forever to get anywhere.
    • 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.
    • 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.
    • 40 Metascore
    • 50 John Leonard
    There is nothing in Dirt to look at or think about that we haven’t looked at and decided not to think about before.
    • 49 Metascore
    • 50 John Leonard
    Since Swingtown isn’t even peekaboo, much less dirty, I wish I could say that it’s played for laughs. But I don’t know what it’s played for.
    • 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.
    • 35 Metascore
    • 40 John Leonard
    The show’s not awful, but not Robert Altman, either.
    • 77 Metascore
    • 40 John Leonard
    This series feel like a fifties leftover, chock-full of unimportant secrets.
    • 35 Metascore
    • 40 John Leonard
    Except for a visit to a gay bar for hip-hop, most of the action (tantrums, blubberings) occurs either in the house or a sandwich shop at the mall. This is because the unappetizing Kath & Kim is fixated in the oral stage.
    • 67 Metascore
    • 40 John Leonard
    We go on watching because of Keaton.... Otherwise, The Company is both surprisingly slow and remarkably tendentious.

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