For 507 reviews, this critic has graded:
  • 53% higher than the average critic
  • 27% same as the average critic
  • 20% lower than the average critic
On average, this critic grades 8.9 points higher than other critics. (0-100 point scale)

Ken Tucker's Scores

Average review score: 76
Highest review score: 100 The Ben Stiller Show: Season 1
Lowest review score: 16 Weird Science: Season 1
Score distribution:
  1. Negative: 21 out of 507
507 tv reviews
    • tbd Metascore
    • 60 Ken Tucker
    There are a few coincidences in the final hours that make the plotting strain credulity, and the second-to-the-last episode feels as though a big chunk of it was cut and pasted from previous seasons and leftover editing-room footage in order to reach the assigned 10 hours. Lumbering along, dragging family history along in a way that slows down its thriller storytelling, Bloodline contains too many instances of a character saying some variation on the line, “When’s it going to end?” or “How did we get here?”
    • 61 Metascore
    • 60 Ken Tucker
    I have to give Marling and Batmanglij credit: I don’t usually have much patience for humorless, convoluted hooey like this, but their narrative pacing, and some of the performances ... are enthusiastically committed and effective.
    • 77 Metascore
    • 60 Ken Tucker
    Many individual scenes are excellent, but the whole thing, based on the half-season Starz made available for review, doesn’t knit together.
    • 49 Metascore
    • 60 Ken Tucker
    If I’ve left the impression that Happyish isn’t a laugh-fest, I’ve done my job. But the show is not without its pleasures. As I said, Coogan and Hahn have good chemistry, and there are some genuinely funny moments (none of which I can recall now). Ellen Barkin is exceedingly welcome any time she pops up briefly as Thom’s profane pal.
    • 86 Metascore
    • 60 Ken Tucker
    If you love Orange Is The New Black, you’re going to be pleased with the way the new season unfolds. If you’re more skeptical of its ongoing strength, you may feel, as I did, that some of the show’s irritating habits have increased.
    • 67 Metascore
    • 60 Ken Tucker
    Lithgow is superb every time he’s on-camera, but Trial & Error has its own trial-and-error growing pains to go through before it either settles into something you want to watch every week, or a novelty that doesn’t sustain itself.
    • 89 Metascore
    • 60 Ken Tucker
    If I rarely find Horseman more than mildly amusing, I certainly recognize the careful craft behind it, as well as the excellent vocal performances by regulars including Amy Sedaris, Alison Brie, Paul F. Thompkins, and Aaron Paul.
    • 58 Metascore
    • 60 Ken Tucker
    Throughout everything, Lopez gives a solid performance — perhaps the best dramatic work she’s done since her first-rate film, Out of Sight (1998). Liotta is excellent as well.... But Shades of Blue’s biggeset problem is this: beyond Lopez and Liotta, the rest of the cops are bland clichés (de Matteo’s marital-woes subplot is particularly trite), and as the series proceeds, Harlee’s efforts to keep her FBI-informant status a secret from her co-workers becomes very strained.
    • 49 Metascore
    • 60 Ken Tucker
    The premiere episode of Why? With Hannibal Buress on Wednesday night was an amiable half-hour.... The Schumer segment had a few laughs; the others were pretty flat.
    • 68 Metascore
    • 60 Ken Tucker
    I admire the series without being very engaged by it, but I can certainly see why you might get more hooked on it.
    • 68 Metascore
    • 60 Ken Tucker
    It really depends on how drawn in you are by the Vatican intrigue crafted by show creator Paolo Sorrentino, and how beguiled you are by Jude Law’s performance.
    • 57 Metascore
    • 60 Ken Tucker
    The result could easily have been a messy botch, but Scream is a little better than that.
    • 65 Metascore
    • 60 Ken Tucker
    Timeless works in a lot of timely commentary via the characters of Rufus and Lucy, who in earlier eras, as a black man and woman, are not treated well. Having made such sociopolitical points, the series is also free to become a potboiler adventure, with a lot of frantic searches for both historical figures who need protecting, and for Flynn, who’s out to cause mayhem.
    • 54 Metascore
    • 60 Ken Tucker
    The show tries very hard to give us believable female characters in this context, but I’m afraid the best Six can do is achieve a kind of high-class soap opera. ... When the show travels outside of America, it’s still full of macho dialogue that can be wearisome--“We’re gonna fix this because that’s what we do; we’re gonna bring Rip home!”--but it has a blend of action and moral inquisitiveness that makes the show intriguing.
    • 65 Metascore
    • 60 Ken Tucker
    Toward the end of the premiere, Remini is shown saying she’s hearing the same stories “over and over”--that the abuse and harassment former members are subjected to have similar traits. Unfortunately, that’s not much of an incentive to keep watching her series, which even during the first hour becomes a little repetitive. Nevertheless, Remini comes across as a sincere crusader.
    • 49 Metascore
    • 60 Ken Tucker
    The opening real-time hour is pretty engaging--knottily plotted yet streamlined enough to hold the attention of football fans left burping on sofas across this great land on Sunday. ...But after a few hours of 24: Legacy, I wasn’t very engaged by all the scrambling around, the twists that prove to be double-crosses that will probably turn out to be triple-crosses.
    • 88 Metascore
    • 60 Ken Tucker
    Casual proceeds from a place of diffidence, of setting up the mildest of jokes and seeing how softly the show can make them land.
    • 70 Metascore
    • 60 Ken Tucker
    The show is beautifully shot and well-directed, and the premiere’s opening scene with Jacob is truly jolting. But the series suffers from the context surrounding it: The netherworld is all over TV, in A&E’s just-canceled Damien, on Fox’s Lucifer, and the fall-TV remake of The Exorcist. As a result, Outcast feels overly familiar, something it shakes only in a subplot involving Kyle’s sister, played very well by Wrenn Schmidt (Boardwalk Empire), who has a haunted past of her own.
    • 74 Metascore
    • 60 Ken Tucker
    Hopkins and Wright are excellent, as is Ed Harris as a guest who’s grown so comfortable in his role-playing of the Gunslinger that he says he rarely leaves Westworld. Evan Rachel Wood and Thandie Newton--playing an innocent farm girl and a jaded brothel madam, respectively--do very well in the context of Westworld’s inherently problematic sexual element. ... But much of the necessary scene-setting--of happy guests arriving and discovering the joys of shooting and screwing to their hearts’ content--becomes repetitive quickly.
    • 60 Metascore
    • 60 Ken Tucker
    In general, the further Shooter strays from Phillippe’s character, the weaker the show becomes.
    • 83 Metascore
    • 60 Ken Tucker
    The structure of most OITNB episodes--in which one character is brought to the fore and we see flashbacks to that person’s past history, details about how that woman or man was shaped and became the person she or he is--has by now, in the new season, become predictable, either comfortingly or tediously so, depending on your degree of engagement with the series.... It’s all pretty pleasant, even if the jokes are often corny.
    • 65 Metascore
    • 60 Ken Tucker
    Marcella starts off well, but pretty soon its pace is impeded by a number of subplots and the abrupt introductions of characters whose role in the overall plot is either unclear or irrelevant. The series has a familiar enough cop-show structure, so if you like Friel’s performance, you’ll be carried pretty far along into the season.
    • 68 Metascore
    • 60 Ken Tucker
    Odd Mom Out is uneven but ultimately likable, and Kargman and Buckley have a nice chemistry as husband and wife.
    • 61 Metascore
    • 60 Ken Tucker
    The first night of Madoff is both entertaining and instructive.... But the first night ends on a breathless cliffhanger, and Thursday’s concluding night resolves that cliffhanger in a way that made me feel cheated of drama. And the TV movie only proceeds to slide further.
    • 54 Metascore
    • 60 Ken Tucker
    Animals is intriguing, and if you’re in the right mood, its leisurely pace and slacker rhythms can pull you in for a while.
    • 62 Metascore
    • 60 Ken Tucker
    Brewster classes up the proceedings considerably with comic timing the rest of the cast ought to study.... Grandfathered doesn’t have too many solid punchlines--it gets by on charm, which Stamos possesses in abundance.
    • 75 Metascore
    • 60 Ken Tucker
    Fresh Off The Boat, when it has flashes of energy and well-written jokes, easily transcends ethnic stereotypes, but it’s these sitcom stereotypes that are the ones the show needs to defeat if it wants to be both long-running and distinctive.
    • 73 Metascore
    • 60 Ken Tucker
    The performances of Hahn and Dunne are strikingly good, all the more so given the emptiness of so much of their dialogue. Their rowdy domestic fights achieve effectiveness almost entirely through this duo’s energetic and witty delivery, not the actual content of what they’re saying to each other. As the series proceeds, it becomes more predictable.
    • 64 Metascore
    • 60 Ken Tucker
    I liked Claws’s sun-baked Florida setting, and the way the cameras capture the difference between the inside warmth of the nail salon versus the harsh ugliness of store-front life outside. And Nash is really excellent, rendering Desna in all her tough, vulnerable, shrewd complexity. The writing of the show needs to become as complex as that character.
    • 69 Metascore
    • 60 Ken Tucker
    The writing is uneven.... But then there are numerous other fine touches.
    • 64 Metascore
    • 60 Ken Tucker
    The tropical backdrop looks great--it’s like watching an episode of Survivor with a bunch of hyped-up macho actors (in other words, exactly like an episode of Survivor, minus Jeff Probst). But you have to put up with a lot of macho bluster and silliness, with dialogue that sometimes shades over into Three Stooges territory. (“Why were you running?” “I was running because you were running!”) If your tolerance for tough-guy bravado with flashes of violence is high, you might enjoy running with these mad dogs.
    • 58 Metascore
    • 60 Ken Tucker
    The whole concept--fleshed out by producers Berlanti, Andrew Kreisberg, and Marc Guggenheim--has the potential for amusement, especially in its mix of motivations.... [But] There are elements that weaken the show. The dialogue is stilted (“Grant me the permission to change the timeline just this once!”), the acting, with the exception of the fluid Garber and the amusingly tough slouching of Lotz, tends to be stiff
    • tbd Metascore
    • 58 Ken Tucker
    China Beach's idea of switching back and forth in time might finally have given the series some true originality and style, but the device hasn't been smoothly executed; even devotees of the series have complained that these days, the shows tend to be confusing, choppy, and annoying.
    • 64 Metascore
    • 58 Ken Tucker
    At once cynical and softhearted, Scandal is a nighttime soap less believable than Private Practice. Good acting, though.
    • tbd Metascore
    • 58 Ken Tucker
    But for an excitingly directed, beautifully cast series, 'The Shield' seems to think that its core premise (Mackey: a hero who does brutal, illegal things) is so intrinsically engrossing, we're not going to notice how recklessly dumb his actions are.
    • 39 Metascore
    • 58 Ken Tucker
    The problem with this reality show isn't Roseanne--she's smart and charming--it's her son Jake, who tries too hard to be a funny cynic, and her boyfriend Johnny Argent, who takes "laid-back" to "Does he have a pulse?" status.
    • 79 Metascore
    • 58 Ken Tucker
    [A] mechanically contrived show ... [but] it sure can be cozy, and cozy tends to get better ratings than clever.
    • tbd Metascore
    • 58 Ken Tucker
    Bialik aside, Blossom is just plain dumb.
    • 49 Metascore
    • 58 Ken Tucker
    In an effort to perk up the show, Real executive producers Mary-Ellis Bunim and Jon Murray have decreed that this year's crew will have to start up their own business. Big mistake. Whatever remaining allure The Real World possesses derives from its fantasy aspect — free house, free-floating surrogate family.
    • 60 Metascore
    • 58 Ken Tucker
    The ghost (Meaghan Rath), the vampire (Sam Witwer), and the werewolf (Sam Huntington) continue to work out their angst-addled yearnings to be human in this more neurotic version of the U.K. TV series.
    • tbd Metascore
    • 58 Ken Tucker
    Week after week, rape and child-abuse case files plop onto the desks of cop partners Christopher Meloni and Mariska Hargitay, who've apparently been instructed to muster ceaseless reservoirs of righteous indignation. Yes, the crimes are appalling, but it's hard to believe these pros wouldn't either burn out or take a more businesslike approach to their work.
    • 36 Metascore
    • 58 Ken Tucker
    This series will require better scripts than the death-penalty pilot one, and those kids will have to establish personalities vivid enough to hold the screen with Smits' powerful one.
    • tbd Metascore
    • 58 Ken Tucker
    As for Mad About You — well, I was no fan of the high-rated, cliff-hanging story arc that ended last season, which found Paul (Paul Reiser) and Jamie (Helen Hunt) on the verge of breaking up. ... This season, things have gotten better.
    • 64 Metascore
    • 58 Ken Tucker
    In general, Rock Center was lively without being crass, disappointing in that it didn't engage much in the news of the day.
    • 51 Metascore
    • 58 Ken Tucker
    The second episode was an improvement creatively: Azaria's Alex and Hahn's Helen displayed some mature-adult chemistry. It may not be enough to save the series, though.
    • tbd Metascore
    • 58 Ken Tucker
    The primary problem is that the show can't decide who deserves contempt more-the movies or the people who make their living reviewing them. Speaking from experience, I'd say that, for as much of a weasel as they've made Sherman out to be, he'd have been more amusing if he were even weasellier.
    • tbd Metascore
    • 58 Ken Tucker
    To its credit, Touched conveys the idea that leading a truly spiritual life is one tough goal. But given the stilted dialogue and the fact that, by definition, the lead characters must always be goody-goody, the quality of the acting is irrelevant.
    • 56 Metascore
    • 58 Ken Tucker
    The international settings are pretty and Judd does her damnedest with what she's got, but Missing's tough-mom role and poorly paced, unsuspenseful suspense scenes make the series hard to root for.
    • 49 Metascore
    • 58 Ken Tucker
    Melodrama, rippling musculature, straight-from-a-Valentine's-Day-card dialogue: There's no reason Off the Map can't become a hit. It just has to avoid sincerity like the plague. Or gangrene.
    • tbd Metascore
    • 58 Ken Tucker
    Chiklis' Scali is such a happy saint that he verges on the insufferable — no one can be this generous, this clever, this jolly.
    • 36 Metascore
    • 58 Ken Tucker
    This is less the stuff of a sitcom than an episode of MTV's True Life: Our Mothers Are Neurotic.
    • tbd Metascore
    • 58 Ken Tucker
    To be fair, the show does capture perfectly the passionate callowness and self-centered romanticism of not a few college students. But I avoided graduate school to get away from people like this.
    • tbd Metascore
    • 58 Ken Tucker
    Once past its shock concept, however, Ab Fab (as its overseas fans call it) simply doesn't have the punchlines to match the wonderfully over-the-top performances of Saunders and Lumley.
    • tbd Metascore
    • 58 Ken Tucker
    Models Inc. is already trying much too hard to match Melrose for self-consciously outrageous campiness.
    • tbd Metascore
    • 58 Ken Tucker
    Ted Danson and Zach Galifianakis steal scenes with charm and zaniness, respectively. Galifianakis actually kidnaps the show by breastfeeding.
    • 33 Metascore
    • 58 Ken Tucker
    [Tim Allen'd] be insufferable and unbelievable (even this doofus would know what Glee is), except Allen has the chops to make a studio audience laugh just through intonation and timing.
    • tbd Metascore
    • 58 Ken Tucker
    This all sounds so promising — why isn't it funnier?
    • tbd Metascore
    • 58 Ken Tucker
    A prime example of SNL's conservative approach is Darrell Hammond's Bill Clinton impersonation: technically impeccable, right down to the contrite lower-lip bite, yet lacking any sharp satirical interpretation.
    • tbd Metascore
    • 58 Ken Tucker
    So far, seaQuest hasn't achieved the kind of nuttily intricate, oddball- festooned plots that make the [Star] Trek shows objects of cult adoration.
    • tbd Metascore
    • 58 Ken Tucker
    As insufferable as these mostly entitled, mostly self-absorbed young women can be, Gallery Girls does a good job of presenting a portrait of what its's like to try to jump-start a career in New York city nowadays. [31 Aug 2012, p.69]
    • Entertainment Weekly
    • tbd Metascore
    • 58 Ken Tucker
    This sort of harmless escapist fare is the kind of thing some members of the Senate are deploring in their uninformed campaign against TV mayhem.
    • 67 Metascore
    • 58 Ken Tucker
    The dialogue in this show is banal, but for some reason utterly charming whenever it's coming out of the mouth of costar Amanda Pays.
    • tbd Metascore
    • 58 Ken Tucker
    The series is still shamelessly cornball, but hey, it's never as goofy as Ally McBeal.
    • 54 Metascore
    • 50 Ken Tucker
    The USA "Characters Welcome" machine strains mightily with this one. [11 May 2012, p.65]
    • Entertainment Weekly
    • 79 Metascore
    • 50 Ken Tucker
    It’s warm, it’s goodhearted, it sends out positive messages. What it isn’t is funny.
    • 42 Metascore
    • 50 Ken Tucker
    There's something winning about the absurdity and the poker-faced formality of the aliens.... The only problem is there's no internal logic to the premise. [28 Sep 2012, p.64]
    • Entertainment Weekly
    • tbd Metascore
    • 50 Ken Tucker
    'Survivor: Thailand' boasts the most boorish and dull group of castaways yet assembled by Burnett.
    • tbd Metascore
    • 50 Ken Tucker
    Moncuse's comics are a lot more varied and better constructed — their plots worked as mysteries, whereas here the stories are just excuses for more fish humor. This is a stinky idea.
    • tbd Metascore
    • 50 Ken Tucker
    Beneath the rich acting talent, there's a dearth of character development and thematic ideas about six inches under 'Feet''s surface.
    • 83 Metascore
    • 50 Ken Tucker
    Halt and Catch Fire doesn’t seem to trust that the viewer will know what it’s talking about.
    • 60 Metascore
    • 50 Ken Tucker
    As good as Anderson is throughout, her Stella suffers from a Season 3 lack of development--we learn nothing about her in this new season that we did not know from the previous two (apart from a couple of small autobiographical details dropped in the final hour). And some characters who had been important to the series--I’m thinking particularly of John Lynch’s cop Burns--recede or fall away in disappointing ways.
    • 64 Metascore
    • 50 Ken Tucker
    The acting remains first-rate. It’s too bad, therefore, that the show proceeds with its various, intriguing subplots at such a slow pace.
    • 60 Metascore
    • 50 Ken Tucker
    The new AHS is, alas, mostly an exercise in style. Its flimsy plot, at least this early in its game, is something left over from a bad Ross Macdonald novel.
    • 73 Metascore
    • 50 Ken Tucker
    At its best, Battle Creek reaches for the witty whimsy of another out-of-the-way-location CBS series such as Northern Exposure. But most of the time, Battle Creek just seems like an only slightly jauntier police procedural than the ones that overrun network TV.
    • tbd Metascore
    • 50 Ken Tucker
    An anthology series in which each episode brings a new cast and crew is inevitably uneven, and so it is with the usually clever Tales From the Crypt.
    • tbd Metascore
    • 50 Ken Tucker
    A standard little sitcom that manages to rein in the best instincts of its solid actors.
    • tbd Metascore
    • 50 Ken Tucker
    Although [Shields is] fine at conveying perky pluck, her line readings seem rushed and forced. Suddenly Susan is already smarter and quicker than Caroline in the City; maybe a few months down the line, it'll take on the weight of a solid-gold sitcom. Right now, though, it's more like a big chunk of scrap metal.
    • 50 Metascore
    • 50 Ken Tucker
    When Shut Eye focuses on the often separate-but-equal storylines of Linda and Charlie, it’s intriguing; the more it peels off into a tedious storyline about their son’s high school life or the illegal doings of Rossellini’s gangster empire or the strong-arm tactics of the gangster (you’ll wince at a death-by-boiling-oil in a doughnut shop), the more diffuse the series becomes.
    • 60 Metascore
    • 50 Ken Tucker
    They [Duchovny and Anderson] slip back into their roles with a gratifying conviction, if not quite enough to make you forget their recent prominence in Californication or The Fall or Aquarius or Hannibal.... The new X-Files hour is fine for what it is, but it lacks the kick of minty-freshness, in favor of the musty tang of mythology.
    • tbd Metascore
    • 50 Ken Tucker
    Kyle Chandler ... is such a likable sweetie that he almost makes Early Edition watchable.
    • 69 Metascore
    • 50 Ken Tucker
    The content tends to be heavy on example and light on analysis and interpretation. The show could stand to slow down a bit on the ways--as the often too clever for its own good narration says--“we upload our very selves to the place we call the cloud,” and ponder the implications of all this internet interaction.
    • tbd Metascore
    • 50 Ken Tucker
    It's gone low-rent.
    • 57 Metascore
    • 50 Ken Tucker
    Chicago Justice is just Law & Order in a windbreaker.
    • tbd Metascore
    • 50 Ken Tucker
    The acting—by Grace, Prepon, and, as Eric's parents, Kurtwood Smith and Debra Jo Rupp—is as sharp as ever, but they all look a little bored, as well they should.
    • 57 Metascore
    • 50 Ken Tucker
    Son of Zorn has the feeling of a show that wants to be edgier than it is (which may be one reason creators Reed Agnew and Eli Jorne stepped away from the project once production was underway).
    • tbd Metascore
    • 50 Ken Tucker
    The fact that Home Improvement remains popular is a testament to its cast's charm, because you can go a full half hour without locating anything resembling a setup-plus-punchline; I swear, there are weeks when the studio audience is laughing only at the slow-burn expressions on Allen's face and at the funny outtakes that roll over the closing credits.
    • 79 Metascore
    • 50 Ken Tucker
    Speechless, created by Scott Silveri, wants to avoids mawkishness and pity so much, it goes way overboard in the other direction, making the audience feel like the cop who declines to chase after Driver when she’s speeding: he finds her so hostile and obnoxious, he says it’s just not worth confronting her.
    • 57 Metascore
    • 50 Ken Tucker
    At its best, The Son--both book and TV show--explores ideas such as what it means to be a success in America and how much ruthlessness is required to achieve that definition; how the legacies of fathers place the burden of history on the shoulders of sons who’d like to shrug them off. It’s too bad the TV version is simplified so drastically, the production too often turns into an ordinary shoot-’em-up.
    • 55 Metascore
    • 50 Ken Tucker
    Zoo keeps things moving quickly enough to glide past its more portentous moments.
    • 61 Metascore
    • 50 Ken Tucker
    The story lacks much in the way of momentum other than the downward spiral of too much booze, too little creation of art. Z: The Beginning of Everything is a spiffy soap opera, but not much more than that.
    • 55 Metascore
    • 50 Ken Tucker
    Babylon 5 is basically the barroom segment of the first Star Wars movie expanded to a weekly hour, with scene after scene of nuttily costumed actors portraying extraterrestrial members of clans such as the Minbaris, the Narns, and the Vorlons. ... There's relatively little action. That might be ascribed to the fact that scenes involving the requisite futuristic special-effects would be expensive, but I actually think it's more by design that Babylon is a talky bore.
    • 62 Metascore
    • 50 Ken Tucker
    I found the series irritating because I find Handler funny very rarely. If you’re a fan, you’ll have a great time, because what this series should be called is Chelsea Does Chelsea.
    • 73 Metascore
    • 50 Ken Tucker
    All in all, there was a lot of talent laboring heroically in The Wiz Live! to enliven material that just didn’t come to life very often.
    • 72 Metascore
    • 50 Ken Tucker
    The effect of the repetitive, lurchingly-paced first couple of episodes is to frequently reduce the previously excellent performances of Sheen and Caplan to a collection of tics.
    • 62 Metascore
    • 50 Ken Tucker
    The half-hours made available for review contain some clever lines and concepts, but not as many laughs as last season.
    • 54 Metascore
    • 50 Ken Tucker
    Miranda sings badly with great gusto; she is witheringly sarcastic to people even though we know she has misunderstood what they’ve said. It’s a very impressive, thought-through presentation by Ballinger. I admire it, but I also didn’t find it funny.
    • 47 Metascore
    • 50 Ken Tucker
    It’s better than Vinyl--Crowe has a better, fresher idea in following the earnest people behind the scenes rather than the exploited stars and venal executives. But it still doesn’t feel like a satisfying hit.
    • tbd Metascore
    • 50 Ken Tucker
    It's exactly what you might expect: a sitcom as well-executed and weightless as everything else produced by what ABC calls 'the hit comedy workshop' of creators Thomas L. Miller and Robert L. Boyett (Full House, etc.).
    • 48 Metascore
    • 50 Ken Tucker
    Don Johnson, who’s worth his weight in gold or oil--anchors the show as North Dakota tycoon Hap Briggs.... You can bet the first hour climaxes with some of the main characters rolling around in oil, punchin’ and brawlin’. But the show could develop its own mythology of contemporary wildcatting.
    • 43 Metascore
    • 50 Ken Tucker
    For its combination of silliness revved up to a furious pace, The Player is, as I said at the start, watchable--the kind of visual junk food that you find yourself consuming for an hour before you realize 60 minutes have passed.

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