For 871 reviews, this critic has graded:
  • 50% higher than the average critic
  • 3% same as the average critic
  • 47% lower than the average critic
On average, this critic grades 2.7 points lower than other critics. (0-100 point scale)

Matt Roush's Scores

Average review score: 62
Highest review score: 100 The Simpsons: Season 2
Lowest review score: 0 Related: Season 1
Score distribution:
871 tv reviews
    • 63 Metascore
    • 60 Matt Roush
    Miss/Guided is silly but sweet and would be more embraceable if it would drop the misguided (sorry) gimmick of having everyone deliver jokes right into the camera.
    • 39 Metascore
    • 60 Matt Roush
    Cheerfully cheesy.
    • 68 Metascore
    • 60 Matt Roush
    Well-made, but heavy-handed and hardly inviting.
    • 61 Metascore
    • 60 Matt Roush
    The overstuffed pilot piles on a few too many weepy crises, many involving Adam’s young son (who may have Asperger’s syndrome), but the strong cast’s considerable charm breaks through.
    • 57 Metascore
    • 60 Matt Roush
    Yes, there’s much that’s awful here, as there always was--some laughably bad acting, portentous flashbacks telegraphed so obviously you expect the screen to do one of those wiggly dissolves, writing that won’t cause Matthew Weiner (or his kids) any sleepless nights--and yet there’s an enjoyably lurid energy to this place that makes it only about 1,000 times more instantly watchable than last season’s dreary redo of 90210.
    • 63 Metascore
    • 60 Matt Roush
    The show almost lost me early on with a clumsy gag when Molly's workout routine is upstaged by mom and sis eating chocolate cake right in front of her. (Who would do that?) But it gets better from there, although the whole enterprise seems like a lot of empty (for now) calories.
    • 56 Metascore
    • 60 Matt Roush
    From the few episodes I've seen so far, Body of Proof is just ordinary enough to be a success. There's nothing in it you haven't seen several hundred times before: a blend of CSI science, Bones banter, Mentalist uncanny acuity, House haughtiness, Rizzoli & Isles eye candy.
    • 63 Metascore
    • 60 Matt Roush
    The chats are amusing, quirky and strangely obsessed with monkeys (which, granted, is always a funny topic), but the illustrations tend to overemphasize the throwaway moments, draining them of spontaneity and often of their original humor.
    • 69 Metascore
    • 60 Matt Roush
    This nearly six-hour adaptation is an over-indulgently languid showcase for Winslet to shine as the iconic and ultimate Mother Martyr.
    • 56 Metascore
    • 60 Matt Roush
    The episodes play out in a series of uneven vignettes: droll, ironic and twisted. It's great to see Kudrow back on TV, but this visually static and comically stunted gimmick wears thin pretty quickly.
    • 62 Metascore
    • 60 Matt Roush
    It's all a bit edgier than you might imagine, and I'll be giving this another look--though it's probably not going to keep me home on Fridays.
    • 78 Metascore
    • 60 Matt Roush
    Ultimately, this is an easier show to admire than it is to recommend.
    • 62 Metascore
    • 60 Matt Roush
    The hot mess of American Horror Story is berserk to a fault, though it does have an unnerving originality compelling us to watch while we cringe, or perhaps smirk.
    • 63 Metascore
    • 60 Matt Roush
    Substantive without being stuffy, workmanlike but something less than a wow, the show often seemed indistinguishable from his Nightly News gig, albeit with longer stories and more opportunity for in-studio banter.
    • 75 Metascore
    • 60 Matt Roush
    The plot is as stubbornly slow-burning as Hoffman's sharply reined-in performance and ultimately far less inspired.
    • 68 Metascore
    • 60 Matt Roush
    The final twists and reveals are inelegantly dramatized, but as TV, it's still a pretty fair page-turner.
    • 64 Metascore
    • 60 Matt Roush
    There are worse ideas. And far worse shows this fall.
    • 64 Metascore
    • 60 Matt Roush
    With most of The Closer's original crew staying on, it's almost business as usual--though with Sedgwick no longer at the center, replaced by Mary McDonnell's inscrutably smug and unsympathetic Capt. Sharon Raydor, the franchise can't help but be diminished.
    • 55 Metascore
    • 60 Matt Roush
    The broad comedy in 1600 Penn derives from familiar sitcom clichés being magnified by the Oval Office fishbowl. It's a gimmick that may have trouble holding up to a second term, though the cast is certainly game.
    • 58 Metascore
    • 60 Matt Roush
    Making things more intriguing this time, Spartacus' main adversary as the series builds toward its final showdown isn't the usual sniveling, craven, oversexed patsy.
    • 61 Metascore
    • 60 Matt Roush
    Banshee is a mangy mutt of a TV show and doesn't care if you know it.
    • 71 Metascore
    • 60 Matt Roush
    Not quite as riveting as some of Tyra Banks' Top Model panels, but the prospect of Naomi getting in her rivals' faces to save her girls should entice the Bad Girls audience to give it a look.
    • 75 Metascore
    • 60 Matt Roush
    The satire is vicious, the behaviors of all parties reprehensible, which makes for a bracingly unsavory series but also one that's ultimately sour and predictable.
    • 63 Metascore
    • 60 Matt Roush
    The characters and situations may be different, but creator/executive producer Cherry's signature tone of arch cattiness leavened with sentimental schmaltz is unmistakable.
    • 57 Metascore
    • 60 Matt Roush
    A proficient if initially perfunctory action thriller that benefits immeasurably from its star's gruff, bluff machismo.
    • 65 Metascore
    • 60 Matt Roush
    The difference between a Dave Barry column and Dave's World is roughly that between a backyard cookout and drive-through fast-food...Both go down all right, but one's more savory. [20 Sept 1993, p.3D]
    • USA Today
    • 46 Metascore
    • 60 Matt Roush
    The sharp performances of the combative in-laws-to-be help sell the overdone situation.
    • 69 Metascore
    • 60 Matt Roush
    A perverse parable of envy and misfortune that loses some steam as it turns into a wacky but predictable revenge caper that you know can't end well.
    • 72 Metascore
    • 60 Matt Roush
    What feels so tightly focused and earned in Breaking Bad too often comes off as forced and unconvincing in the land of the soulful bikers.... Still, Sons has a propulsive allure as it dramatizes Jax's attempts to take the gang legit (though he still condones murder when it's convenient) while battle lines continue to be drawn between the show's ferociously impressive leading ladies.
    • 64 Metascore
    • 60 Matt Roush
    The ever-present but unseen film crew adds a layer of patronizing self-consciousness to a series that is at its best when it relaxes into the slow rhythms of the Broad Hill nursing home, whose residents aren't nearly as hopeless and forlorn as they look.
    • 53 Metascore
    • 60 Matt Roush
    Even though many will find this brand of overripe melodrama as silly as the indelible "Death of Mary Queen of Scots" sketch from Monty Python's Flying Circus, I can't help but root a little for such a zany risk.
    • 54 Metascore
    • 60 Matt Roush
    This much more conventional biopic is a grittier, drabber journey from crime-spree joyride to high-stakes manhunt as their crimes and the ensuing fallout escalate in grim intensity.
    • 54 Metascore
    • 60 Matt Roush
    Mel's eccentric independence is admirable and more often than not amusing--which isn't always the case for the show, which uses gentle but forced whimsy to deliver treacly life lessons from the perspective of preteen son Henry (Eli Baker).
    • 63 Metascore
    • 60 Matt Roush
    The first chapters are compelling enough, but after Hostages, it's hard not to be skeptical when we've just seen how quickly this sort of heightened situation can lapse into overheated nonsense.
    • 64 Metascore
    • 60 Matt Roush
    Watching Jackie go back on the drugs, lying to her support group as well as her current better-than-she-deserves cop boyfriend Frank (Adam Ferrara), you can't help but get a dispiriting feeling of been-there, snorted-that. Bright spots include Emmy winner Merritt Wever as the irrepressible nurse Zoey.... and the arrival of the terrific Julie White.
    • 60 Metascore
    • 60 Matt Roush
    If you can get past the glorified and tiresome rumbles and taunts between the low-class ''greasers'' and their rich-kid rivals - the ''socs,'' pronounced ''sosh-es,'' a tribe of mostly blond pompadours - there's a sweet family drama being enacted by some unschooled heartthrobs-to-be. [23 Mar 1990, p.3D]
    • USA Today
    • 52 Metascore
    • 60 Matt Roush
    The action scenes are impressive, the cast admirably diverse (with Cliff Curtis especially strong as Ryan's demanding surrogate father), and the tone suitably rugged. All Gang Related needs to up the ante is a hero who's a little more "anti-."
    • 57 Metascore
    • 60 Matt Roush
    [John Malkovich] makes this cartoonish romp a lot more fun than Starz's Black Sails--which admittedly isn't saying much.
    • 59 Metascore
    • 60 Matt Roush
    It's no fault of Bean's, who is riveting as he occasionally morphs into character before his colleagues' amazed eyes. The rest of the series could use a personality transplant.
    • 58 Metascore
    • 60 Matt Roush
    The fault in Red Band Society isn't in the stars, but in the over-writing.
    • 55 Metascore
    • 58 Matt Roush
    Gravity may be weighted down by cliche, but it’s not without interest.
    • 73 Metascore
    • 50 Matt Roush
    Ally McBeal has the components of a potential guilty pleasure. Giddily romantic but also sassily sardonic, it merely needs to curb some of its more groaning indulgences. [8 Sep 1997]
    • USA Today
    • 47 Metascore
    • 50 Matt Roush
    It's aggressively unambitious, with a sexual harassment story line having about as much impact as a new-roommate squabble over sharing peanut butter, but it's always easy on the eyes and never consequential to the intellect. [8 July 1992, p.1D]
    • USA Today
    • 58 Metascore
    • 50 Matt Roush
    Whether clinking crystal to a beat or jiving with the crusty butler, Smith is looked upon by even his detractors with condescending "isn't he something" adoration. Tiresome as that is, Smith's breezy and non-combative charm gives this the look of a winner. Even if, in concept, it's more nap time than rap time. [10 Sept 1990, p.3D]
    • USA Today
    • 54 Metascore
    • 50 Matt Roush
    It's slight, but sweet. Maybe that's all that's necessary. [20 Sept 1996, p.3D]
    • USA Today
    • 53 Metascore
    • 50 Matt Roush
    It almost torpedoes itself by being a bore and taking its futuristic sociology too doggone seriously. [18 Sept 1989, p.3D]
    • USA Today
    • 67 Metascore
    • 50 Matt Roush
    Too much pretentious hooey about destiny obscures an unfocused saga of normal folks with odd powers.
    • 42 Metascore
    • 50 Matt Roush
    Crash doesn't burn so much as it simmers. It's provocative and intriguing, but leaves you wondering if the whole setup might not simply work better as a movie.
    • 45 Metascore
    • 50 Matt Roush
    The Loop is half funny.
    • TV Guide
    • 63 Metascore
    • 50 Matt Roush
    The frantically violent mayhem, including a tasteless cannibalism gag, is paced swiftly enough that you can almost ignore the silliness of a show that isn’t above resurrecting characters long thought dead. Still, it beats last year’s miserable detour in a Panamanian sweatbox.
    • 40 Metascore
    • 50 Matt Roush
    Like on House, we go inside the body, zooming from nerve endings to the mind's exotic landscape, where surreal images convey mystery maladies. If only 3 LBS were as provocative.
    • 65 Metascore
    • 50 Matt Roush
    Smart fun.... But Report often feels like an overlong, overindulged sketch.
    • TV Guide
    • 72 Metascore
    • 50 Matt Roush
    The action is fast-paced, the plotting dense, if often simplistic, and the tension generally sustained, as long as you don't overthink the improbabilities of the cover-up over who's responsible for the bomb attacks.
    • 52 Metascore
    • 50 Matt Roush
    As fast-paced as it is preposterous.
    • 51 Metascore
    • 50 Matt Roush
    This is what you'd get if Without a Trace somehow turned into a cartoonish conspiracy chase thriller.
    • 65 Metascore
    • 50 Matt Roush
    If you like Lifetime, you'll probably love this one.
    • 70 Metascore
    • 50 Matt Roush
    The movie's fun to watch, but also rather hollow, reminding me of last season's HBO movie The Life and Death of Peter Sellers. Both are well acted but with such obvious stories to tell they soon grow tiresome.
    • TV Guide
    • 67 Metascore
    • 50 Matt Roush
    Taylor gives a forceful performance as a wronged wife who lapses into hallucinations during therapy sessions, but a bitter tone pervades most of the rest of the show.
    • 54 Metascore
    • 50 Matt Roush
    Replacing "Oz"'s joyfully timeless charm with perverse irony and nightmarish, hallucinatory imagery makes this three-night miniseries more of a lavishly quirky curiosity than a keeper.
    • 68 Metascore
    • 50 Matt Roush
    When everything and every moment is studiously and heavy-handedly unpleasant, and each humorless, colorless detail seems designed to impress us with its “edge,” the overall effect ironically becomes somewhat monotonous.
    • 61 Metascore
    • 50 Matt Roush
    Reminiscent at times of "The Bourne Identity" or "Face/Off," to name a few movie influences it does not improve upon, the beyond-high-concept Enemy asks us to believe Christian Slater as a cold-blooded assassin named Edward who doubles, when a switch in his brain is flipped, as a milquetoast family man named Henry.
    • 47 Metascore
    • 50 Matt Roush
    A good girl’s surprise pregnancy is a strong premise, but creator Brenda Hampton (7th Heaven) undercuts it by surrounding Amy with an uninspired ensemble of precociously cardboard classmates.
    • 49 Metascore
    • 50 Matt Roush
    A newspaper writer whose one-night-stand with a baby-faced young-un leads to predictable complications when she gets, you guessed it, knocked up.
    • 65 Metascore
    • 50 Matt Roush
    I’d like to say the self-consciously literary Bored to Death lives up (or down) to its title, but it really doesn’t even leave that much of an impression.
    • 72 Metascore
    • 50 Matt Roush
    While there is much talent associated with this show, Parks still feels pretty much like the pits, an uneasy and uneven clone that has yet to achieve a comedic purpose of its own.
    • 67 Metascore
    • 50 Matt Roush
    Not much interesting going on here, although it can be intriguing to watch an old-fashioned-style sitcom shoehorned into the Gossip Girl age, as ABC Family continues to try to be relevant yet family-friendly.
    • 65 Metascore
    • 50 Matt Roush
    I simply hope Hot in Cleveland can give us more than the lukewarm pilot promises. Ohio deserves better, and so do these fabulous ladies.
    • 69 Metascore
    • 50 Matt Roush
    As it wrestles with Big Moral Questions, Rubicon is unquestionably smart but undeniably sluggish.
    • 64 Metascore
    • 50 Matt Roush
    It may be a cliche to say that New York is an essential character and component of the Law & Order brand, but it's true. The distinctive grit and energy of the urban metropolis are lacking in the sprawl of L.A., which is also so overexposed on TV in its sun-drenched glamour that LOLA feels old hat before it even arrives.
    • 56 Metascore
    • 50 Matt Roush
    It's all very fast-paced but relentlessly and annoyingly simplistic, with virtually no dramatic nourishment along the way. The show's other gimmick is to add a reveal at the end of each episode to let us know who was really responsible for the crime and whether justice was served. In the two episodes I watched, can't say I really cared by the end.
    • 67 Metascore
    • 50 Matt Roush
    The action and whimsy help compensate for an overall flatness in the rest of the ensemble casting and low-budget production.
    • 66 Metascore
    • 50 Matt Roush
    Moments and characters like these take us out of the reality that Shameless otherwise aims to portray, falling victim to the pay-cable impulse to push the shock envelope just because it can. Which ultimately is less shocking than irritating. A shame, really.
    • 59 Metascore
    • 50 Matt Roush
    If all of this is new to you, the appealing mix of humor and horror may very well hook you. If you've already fallen in love with the British version, as I have, this uneven carbon copy will seem wildly unnecessary.
    • 59 Metascore
    • 50 Matt Roush
    Legal is fairly banal, and its focus is often as fuzzy and vague as its by-the-numbers title. Thankfully, Shahi has more than enough personal charm and sex appeal to keep this vehicle afloat until it finds its own voice.
    • 60 Metascore
    • 50 Matt Roush
    Too bad that's not more wonder in this very familiar show. There's nothing really wrong with Mad Love. There's just nothing new about any of it.
    • 56 Metascore
    • 50 Matt Roush
    Though the stories provide plenty of jolts, Bedlam becomes less scary with repetition during its six-episode duration, because we can see these persistent ghouls all too easily.
    • 57 Metascore
    • 50 Matt Roush
    Some of the situations they encounter on the dating and relationship circuit are promisingly wacky, but the tortured jokes lean way too heavily on pop-culture references.
    • 63 Metascore
    • 50 Matt Roush
    Having peaked a few seasons back in the amazing John Lithgow season, Showtime's hit Dexter at least seems to be enjoying itself as year six kicks off.
    • 57 Metascore
    • 50 Matt Roush
    It may be just ordinary enough to work.
    • 55 Metascore
    • 50 Matt Roush
    If only Grimm didn't also feel like we've seen it before, only executed with more verve and humor back in the glory days of Buffy and Angel.
    • 75 Metascore
    • 50 Matt Roush
    I wish I were as invested in Amy's journey as she is, but as she blathers on about being an agent of change at her uncaring corporation, I find myself restless to change the channel to something that's actually entertaining or, yes, enlightening.
    • 58 Metascore
    • 50 Matt Roush
    A more conventionally crass buddy comedy about a Jersey whale-out-of-water (voiced by Book of Mormon star Josh Gad) who moves to the California beachfront with his buxom mom (Debi Mazar),
    • 59 Metascore
    • 50 Matt Roush
    With overripe dialogue that sounds like Shakespeare ground through a blender of baroque profanity, punctuated by action sequences of almost comical brutality amid orgies of debauchery, Spartacus is back with a vengeance.
    • 63 Metascore
    • 50 Matt Roush
    The mysteries of the mythology--Where were they for the last half-century? Who's pulling their violent strings?--are more compelling than the plodding mechanics of the weekly manhunt.
    • 66 Metascore
    • 50 Matt Roush
    This is a family that could use some ruffling, with precious little chemistry between the series leads.
    • 66 Metascore
    • 50 Matt Roush
    Their [Matthew Perry and Laura Benanti's] wary cat-and-mouse game doesn't exactly break new comic ground, but it temporarily lifts Go On from its jarring tonal shifts between mockery and mawkishness.
    • 62 Metascore
    • 50 Matt Roush
    This posh address, which could yet become catnip for occultists, looks to be for amateurs only.
    • 59 Metascore
    • 50 Matt Roush
    The hour-long pilot of Mockingbird Lane [is] a monster mash of a hot mess.
    • 58 Metascore
    • 50 Matt Roush
    [Graceland] is barely distinguishable from USA Network's long roster of crime capers featuring pretty people in gorgeous settings.
    • 58 Metascore
    • 50 Matt Roush
    The result is a mostly wan workplace sitcom hamstrung by the premise of yoking Williams to a wet-blanket daughter as business partner (Sarah Michelle Gellar, not exactly in her element). The co-star who really pops is James Wolk.
    • 58 Metascore
    • 50 Matt Roush
    As Stuart, the lovelorn web-designer hero of this sad-sack comedy vehicle, [Stephen Merchant] often tries one's patience, feeling more like an overexposed supporting player incapable of elevating the initial one-joke premise.
    • 43 Metascore
    • 50 Matt Roush
    The gizmos and visual shimmer rarely disguise the fact this is just a gussied-up cop show. Confusing, to boot. [17 Jan 1994]
    • USA Today
    • 62 Metascore
    • 50 Matt Roush
    Even if all of their naughty bits weren't pixilated--it's still a bonanza for backside gazing, just saying--they soon become so grimy, gaunt and downright miserable as they starve and shiver for days on end that it's all about as arousing as a labor camp death march.
    • 59 Metascore
    • 50 Matt Roush
    Sun aspires to the breadth if not the depth of The Wire. But it's so self-conscious in its existential misery, lacking the leavening humor and humanity of a modern classic like Breaking Bad, that it often feels more punishing than provocative.
    • 62 Metascore
    • 50 Matt Roush
    Rake's uneven tone (which makes Ally McBeal seem grounded in reality) left me numb.
    • 52 Metascore
    • 50 Matt Roush
    So far so generic, and I'll decide later once my ears stop ringing.
    • 64 Metascore
    • 50 Matt Roush
    [A] lavishly entertaining but hopelessly convoluted new supernatural thriller.
    • 52 Metascore
    • 50 Matt Roush
    When the music stopped, the sound of Underwood was underwhelming: drab, devoid of energy or passion, creating a vapid hole at the center of a charming and diverting production. Her chemistry with a similarly stiff Stephen Moyer, as an awkwardly gaunt Capt. Von Trapp, felt like wilted edelweiss.
    • 49 Metascore
    • 50 Matt Roush
    This is Texas, y'all. And you may very well feel like you've been to this rodeo before.
    • 69 Metascore
    • 50 Matt Roush
    Some of the stylistic touches are amusing, including a bombastic theme song belted by Steve Lawrence, but the strain shows as Babylon's sketchy premise is elongated to miniseries length.
    • 73 Metascore
    • 50 Matt Roush
    Never as heightened or melodramatic as Queer as Folk (British and Showtime versions), Looking also isn't terribly distinctive and is only sporadically engaging.
    • 57 Metascore
    • 50 Matt Roush
    Black Sails opens promisingly enough with a sea battle, followed by threats of violent upheaval aboard the Walrus, captained by the arrogant, aloof Flint (Toby Stephens). Too soon, though, the action moves onto land. And while Starz staples like graphic sex and savagery are hardly uncommon occurrences in the bustling debauchery of New Providence Island, Sails becomes stubbornly becalmed by its landlocked third and fourth hours, as tiresome wheeling and dealing triggers a bout of Restless Sea Legs Syndrome in the impatient viewer.
    • 63 Metascore
    • 50 Matt Roush
    While sporadically and quietly amusing, the entire enterprise has the whiff of an in-joke vanity production.
    • 61 Metascore
    • 50 Matt Roush
    [A] stubbornly bland potboiler.
    • 71 Metascore
    • 50 Matt Roush
    Atmospheric and overheated, it's often as lurid and messy as American Horror Story and almost as indulgent and incoherent, with characters from Dracula, Frankenstein, The Picture of Dorian Gray and assorted other legends of yore intersecting in an occultist brew.
    • 29 Metascore
    • 50 Matt Roush
    Timecop doesn't boggle the mind. It's merely a bog. You could write this adventure yourself. [22 Sept 1997, p.3D]
    • USA Today
    • 64 Metascore
    • 50 Matt Roush
    Leoni brings an unaffected and alluring authority to this classy but contrived political procedural.
    • 48 Metascore
    • 50 Matt Roush
    The problem is that self-styled bohemians, including sidekicks like a fey fashion photographer (John Cameron Mitchell) and a dumb-hunk bartender (Matt Borlenghi), hardly look natural delivering glib one-liners and performing slapstick spit-takes. [9 Sept 1996, p.3D]
    • USA Today
    • 65 Metascore
    • 50 Matt Roush
    An uneven yet at times emotionally engrossing series that hasn't quite figured out an appropriate or clear tone to dramatize this mystifying meditation on loss, sustained grief and tested, twisted faith.
    • 44 Metascore
    • 42 Matt Roush
    I'm still waiting for this overqualified cast to get material that allows them to act like grown-ups as opposed to squabbling, whiny, gossipy, neurotic, sex-obsessed nimrods.
    • 49 Metascore
    • 40 Matt Roush
    A homogenous Cosby Show clone with no distinguishable character...It's inoffensive and sometimes affectionate, as when the clan pulls together in the second episode after Harriette loses her job. It might play, then, on ABC's benign made-for-baby-sitters Friday lineup.[21 Sept 1989, p.3D]
    • USA Today
    • 48 Metascore
    • 40 Matt Roush
    Uneven.
    • 40 Metascore
    • 40 Matt Roush
    The very definition of generic.
    • TV Guide
    • 45 Metascore
    • 40 Matt Roush
    A fresh approach can take you only so far when the material is this tired.
    • TV Guide
    • 46 Metascore
    • 40 Matt Roush
    As often happens in this genre, the more you learn about the lurking evil... the less scary it gets.
    • 55 Metascore
    • 40 Matt Roush
    The cast is strong... But the characters come off as icky, wretched backstabbers.
    • 54 Metascore
    • 40 Matt Roush
    Improv techniques aside, I'd just settle for a funny script.
    • 51 Metascore
    • 40 Matt Roush
    The first three episodes of this peculiar series bored me silly with its pretentious mannerisms, and I can't help thinking that many HBO subscribers will tune in and wonder: They dropped Deadwood for this?
    • 69 Metascore
    • 40 Matt Roush
    The Riches is hard to believe and not much easier to embrace.
    • 49 Metascore
    • 40 Matt Roush
    No one is more than skin-deep, so there’s little in the way of irony or metaphor to disguise the fact that Swingtown is so determined to be shocking it seems a little quaint.
    • 70 Metascore
    • 40 Matt Roush
    The gimmick's in the scheduling of this tediously claustrophobic though sometimes searing half-hour drama, set almost entirely in a psychotherapist's office.
    • 69 Metascore
    • 40 Matt Roush
    The pilot is neither thrilling nor funny enough to earn notice.
    • 35 Metascore
    • 40 Matt Roush
    This feels like the kind of show ABC used to churn out in its sleep.
    • 35 Metascore
    • 40 Matt Roush
    This contemporary remake is cheerfully B-movie cheesy--watch an alien attack a bowling alley--but also stubbornly flat, settling for cute when sublime camp would be preferred.
    • 70 Metascore
    • 40 Matt Roush
    We know Ullman has range. What this Union needs is focus.
    • 51 Metascore
    • 40 Matt Roush
    Suspense should be nerve-tingling fun, not necessarily punishing, and most of what I’ve seen so far has been about as enjoyable as taking a sledgehammer to the temple. And just about as cheesily predictable.
    • 42 Metascore
    • 40 Matt Roush
    It's business as usual on Criminal Minds: Suspect Behavior, an uninspired spin-off of the undistinguished (except in its degree of gruesomeness) long-running hit.
    • 40 Metascore
    • 40 Matt Roush
    If you’ve never seen a legal show before, maybe you’ll get something out of this; otherwise, it’s about as refreshing as wading in a kiddie pool on a scorching summer day.
    • 59 Metascore
    • 40 Matt Roush
    The show isn’t as self-important and whiny as Hung, or as precious and smug as Bored to Death, or as repulsive as Eastbound and Down (to name a few of HBO’s recent comedy misfires, all of which were renewed). Sadly, this one’s just a bit threadbare.
    • 50 Metascore
    • 40 Matt Roush
    An odd tonal mix with uneven casting that never quite produces the intended magic, it feels like a misfire to me.
    • 46 Metascore
    • 40 Matt Roush
    This reimagined version, which feels a bit old hat in a post-Matrix fantasy landscape, is more leaden, pretentious and solemn, a tone embodied by Caviezel’s brooding Six, who’s more dour than dashing.
    • 54 Metascore
    • 40 Matt Roush
    Spartacus is derivative as entertainment and primitively pandering as a diverting spectacle of campy historical fiction.
    • 48 Metascore
    • 40 Matt Roush
    The supporting cast is diverse, but uniformly bland. Three Rivers isn’t as laughably awful as NBC’s "Mercy," but it’s possibly more forgettable.
    • 37 Metascore
    • 40 Matt Roush
    Hank does fill a network void where family-friendly comedy is concerned, but Grammer is just going through the paces here. And I’m not sure a void actually deserves another void.
    • 57 Metascore
    • 40 Matt Roush
    The animation is primitive, and so is the straining-to-be-hip writing in this deadpan sitcom.
    • 53 Metascore
    • 40 Matt Roush
    There's nothing about Haven that isn't derivative at best and dispiriting at worst.
    • 56 Metascore
    • 40 Matt Roush
    The problem is that Scoundrels is never as funny as it thinks it is.
    • 52 Metascore
    • 40 Matt Roush
    Unclear and, at first glance, very uneven, but it's still a lot more inviting than ABC's DOA "Happy Town."
    • 48 Metascore
    • 40 Matt Roush
    The only moment anyone’s likely to remember from the colossal dud of The Jay Leno Show's opening night--which felt more like an off night of the old Tonight Show--was a moment where no joke was cracked, indeed where no word was spoken.
    • 48 Metascore
    • 40 Matt Roush
    There's not much there here, as Chase engages in violent cat-and-mouse pursuits between a team of U.S. Marshals (led by Giddish's Annie "Boots" Frost) and psycho criminals on the lam.
    • 48 Metascore
    • 40 Matt Roush
    When Steve and Emmy reconnect in the mansion where they grew up, sparks are meant to fly. But the chemistry is lacking, maybe because the creators are too busy loading up so many elements of the bizarre around them.
    • 49 Metascore
    • 40 Matt Roush
    There's no surprise to this, just a sense of resignation that such a hokey climax is the way these shows are supposed to work. Which doesn't make V a terrible show, just a terribly ordinary one.
    • 54 Metascore
    • 40 Matt Roush
    This isn't a catastrophe, mind you. It's not Knight Rider-Bionic Woman awful. It's merely forgettable. Which is just sad.
    • 49 Metascore
    • 40 Matt Roush
    The conditions at the clinic and surrounding villages are unnervingly primitive, which adds to the drama and the stakes of many of these emergency triage cases. But it's the painfully earnest dialogue that could really make you ill.
    • 54 Metascore
    • 40 Matt Roush
    Mr. Sunshine never really comes into focus. I'm regarding this as a work in progress, and am hoping it finds its way in weeks to come the way Cougar Town quickly did.
    • 57 Metascore
    • 40 Matt Roush
    What in the original incarnation was shockingly cheeky, in its graphic and profane depiction of teens indulging in sex-and-drug debauchery, has been neutered and tamed in a remake that is unconvincing, amateurishly produced and very poorly acted.
    • 55 Metascore
    • 40 Matt Roush
    This isn't a terrible show, because that might make it memorable. Instead, it falls into that category of being fairly clever without really being funny or all that amusing.
    • 63 Metascore
    • 40 Matt Roush
    This is assembly line rom-com TV.
    • 50 Metascore
    • 40 Matt Roush
    It's ploddingly earnest when it isn't crudely scurrilous....There is some fine acting.
    • 67 Metascore
    • 40 Matt Roush
    You say potato, I say dramatic arsenic. This actors' exercise is what it's like finding yourself trapped in a pretentious, self-important off-Broadway "experience," wishing you'd chosen to go to a movie or stay home with TV instead.
    • 49 Metascore
    • 40 Matt Roush
    This one pushes the zany aspects too hard, trivializing the missions while neglecting such elements as grit, wit and heart.
    • 58 Metascore
    • 40 Matt Roush
    Rarely has the story been rendered so dreary and insipid.
    • 55 Metascore
    • 40 Matt Roush
    To say Secret Circle isn't spellbinding is an understatement. Originality and surprise are the main ingredients missing from this tepid witches' brew.
    • 56 Metascore
    • 40 Matt Roush
    Your enjoyment of Franklin & Bash may depend on your tolerance for frat-boy antics and smarmy whimsy.
    • 45 Metascore
    • 40 Matt Roush
    An insipid and unconvincing attempt to position bunnies at the forefront of a social and sexual revolution.
    • 66 Metascore
    • 40 Matt Roush
    Some are embracing this as a juicy guilty pleasure, a return to Dynasty times by way of The Count of Monte Cristo. I found it all a bit predictable and thick, like I was choking on Crisco.
    • 61 Metascore
    • 40 Matt Roush
    Saving the least for last, Entourage feels awfully washed-out and washed-up, kind of like Vince Chase's dormant career, as the show counts down to the end.
    • 63 Metascore
    • 40 Matt Roush
    AMC's sprawling but heavy-handed attempt to revive and redefine the Western (a newly hot TV-development trend) is solemn business indeed, with precious little wit or originality.
    • 56 Metascore
    • 40 Matt Roush
    The voyeuristic thrill of watching the unguarded reactions of people--in this case, famous people--to outrageous situations has worked ever since Candid Camera, but I'll admit the only moment that brought me joy in the first episode is when one of Bieber's marks refuses to fall for the set-up, insisting, "Are we on Punk'd?"
    • 47 Metascore
    • 40 Matt Roush
    This Bag is sadly empty of surprises.
    • 60 Metascore
    • 40 Matt Roush
    Dramatically, the show feels as stalled as the trains, which have nowhere to go. Studiously gritty but rarely convincing in its clichéd characterizations and pretentious posturing, Wheels is hell on one's endurance.
    • 47 Metascore
    • 40 Matt Roush
    Even host Ben Bailey (of Cash Cab) can't seem to get too worked up about it.
    • 51 Metascore
    • 40 Matt Roush
    Yes, the banter is forced and precious, and the premise of the show remains rather fuzzy. But they're all so darned pretty, which is just how USA likes it.
    • 43 Metascore
    • 40 Matt Roush
    The Client List wants to have its beefcake and eat it, too. Just beware the gristle, which would be the scripts.
    • 51 Metascore
    • 40 Matt Roush
    Even good actors like Linus Roache (the Earl of Manton, as starchy as his collars), Toby Jones (as his obsequious lawyer) and Maria Doyle Kennedy (as Jones' harpy wife) fail to rise above these contrived circumstances.
    • 60 Metascore
    • 40 Matt Roush
    White Heat proves to be a warmed-over and tepid mishmash of changing-times clichés.
    • 49 Metascore
    • 40 Matt Roush
    In other words, another uneasy mix of the spiritual and the medical.
    • 52 Metascore
    • 40 Matt Roush
    Unfortunately, The Great Escape comes off more like an elaborately silly game of hide and seek.
    • 47 Metascore
    • 40 Matt Roush
    Sullivan & Son certainly feels like something you've seen before. Only done much better.
    • 66 Metascore
    • 40 Matt Roush
    It doesn't lack in ambition. It's in the stilted, stiff execution where things fall apart.
    • 43 Metascore
    • 40 Matt Roush
    Jersey's painfully familiar but easy-to-take act, which plays like a USA Network show on auto-pilot, feels "Made for Fridays."
    • 60 Metascore
    • 40 Matt Roush
    Now comes this unnecessary makeover, starting with Friday's two-hour premiere, which transforms Touch into a tiresomely ordinary chase/conspiracy non-thriller.
    • 55 Metascore
    • 40 Matt Roush
    There is one clever gimmick--the winner gets to sit upon a "Throne of Games"--but the very-long-hour opener is a tedious affair.
    • 39 Metascore
    • 40 Matt Roush
    An otherwise drab reboot of the British series that earned acclaim during its intermittent run on BBC America.
    • 51 Metascore
    • 40 Matt Roush
    While it's all meant to be aspirational, it's more desperation-al watching these professionals jump through hoops for our entertainment.
    • 52 Metascore
    • 40 Matt Roush
    The pacing is sluggish, the twists telegraphed and rarely shocking, turning this whodunit into a "who cares?" Deception gets NBC's midseason off to a dreary start.
    • 59 Metascore
    • 40 Matt Roush
    The lavish Selfridges is a fine setting for class-conscious if derivative period drama--with shopgirl gossip and staff romances--and what we learn about the history of commerce is often entertaining, but the philandering showman whose name is on the door makes you feel you're being sold an inferior bill of goods.
    • 54 Metascore
    • 40 Matt Roush
    The Taste is like an endless retread of MasterChef by way of the multiple judge/mentor set-up of The Voice, only this time with blind tastings as the gimmick. Which isn't nearly as enjoyable as watching judges operate those revolving chairs. The judges are a mixed bag.
    • 60 Metascore
    • 40 Matt Roush
    Claustrophobic, stagey and muddled, the movie offers two memorable set pieces.
    • 48 Metascore
    • 40 Matt Roush
    Between the cutesy on-screen captions and an anything-goes sensibility that flirts with child endangerment (just kidding, kind of), Parents ultimately just feels like it's trying too hard.
    • 47 Metascore
    • 40 Matt Roush
    Rogue has all the attributes of pay cable--rough language, extreme violence and no-kidding graphic sexuality and nudity--but little of its depth and nuance.
    • 62 Metascore
    • 40 Matt Roush
    Demons is possessed by pretentiousness when it tries to be serious and by silliness whenever Leonardo becomes an instant swashbuckler.
    • 47 Metascore
    • 40 Matt Roush
    The more promising [of the two TNT shows--the other is "72 Hours"] is The Hero, which at least allows the contestants to develop as characters--although you might wish there was less focus on the sniveling crying of mother-of-three Patty.
    • 41 Metascore
    • 40 Matt Roush
    Wedged between the superior company of The Middle and Modern Family is the bumbling blandness of the slapsticky Family Tools.
    • 57 Metascore
    • 40 Matt Roush
    The "games" in the pilot include a specially designed version of Trivial Pursuit where all the questions reveal aspects of this unhappy clan's back story. That's as clever as Goodwin gets, and except for Newton's daffy sparkle, there's no real incentive to play along.
    • 41 Metascore
    • 40 Matt Roush
    While the purpose of all of this is to urge you to skip this version and try to get your hands on the saucy British original, it's only fair to report that one of the four--Jes Macallan as Milano's unrepentantly slutty sis, a real-estate broker having it off with her boss--captures the Mistresses spirit of naughty fun (never without consequences).
    • 48 Metascore
    • 40 Matt Roush
    The game's the only thing in companion piece 72 Hours, which feels like an amped-up leg of The Amazing Race or a condensed version of Survivor if not its Eco-Challenge predecessor.
    • 43 Metascore
    • 40 Matt Roush
    The problem with shows like this is that even if the game is diverting, it's all so patently phony that it's hard to muster up much of a rooting interest in who solves or even wins the game.
    • 63 Metascore
    • 40 Matt Roush
    Poorly acted, drearily written, Siberia is just the thing for those who've tuned into a new reality show and, while watching the same old beats play out, muttered to the screen, "I could have written this."
    • 50 Metascore
    • 40 Matt Roush
    Too silly and slight for grown-ups, too corny for the MTV generation, Camp is like an overheated ABC Family potboiler.
    • 71 Metascore
    • 40 Matt Roush
    Unfortunately, too much of the focus is on novice witch Zoe, played by Taissa Farmiga with the same one-note boringly sulky attitude she exhibited as the brat you couldn't wait to see die in the first season.
    • 46 Metascore
    • 40 Matt Roush
    The grotesque extremes to which Wilson stoops to get laughs in this frenetic vehicle have a whiff of desperation.... Her workplace feels like a retread of elements of Sara Rue's Less Than Perfect.
    • 53 Metascore
    • 40 Matt Roush
    Atlantis is almost as cheesy as one of those Syfy Saturday-night horror spoofs.
    • 58 Metascore
    • 40 Matt Roush
    he only time The Assets comes alive is when the focus falls on the soon-to-be-notorious turncoat Ames, a compellingly twitchy Paul Rhys.... The Assets reduces the complex world of espionage to laughably simplistic terms.
    • 56 Metascore
    • 40 Matt Roush
    This Dallas isn't half as good as the landmark soap whose legacy is tarnished by the cardboard pawns of the next generation, carrying out their sexual mergers and secret agendas with a uniform lack of conviction or dynamism.
    • 48 Metascore
    • 40 Matt Roush
    While some of the flirtatious banter in these random odd couplings can be witty and even winsome, after a few rounds (I made it through three episodes), I was ready to close out my tab.
    • 66 Metascore
    • 40 Matt Roush
    A lugubrious six-episode drama that's as overwrought as it is underwhelming.
    • 55 Metascore
    • 40 Matt Roush
    Suspending disbelief would be a lot more enjoyable if we hadn't seen it all before.
    • 53 Metascore
    • 40 Matt Roush
    Dream Builders' emotional dynamic is more attuned to Celebrity Apprentice in its nightmare blueprint of clashing egos getting in the way of a job well done.
    • 61 Metascore
    • 40 Matt Roush
    Ship is awfully square in its hokey heroics, solemn acting and predictable subplots: a dull shipboard romance, a lurking saboteur. But it also has the feel of a summer page-turner, sturdy as the title vessel but also just as stodgy.
    • 54 Metascore
    • 40 Matt Roush
    HBO's True Blood opens its seventh and final season on a rather anemic note.
    • 65 Metascore
    • 40 Matt Roush
    A savage snark-fest in which two exhibitionistic misanthropes decide to hook up for a bit.
    • 31 Metascore
    • 40 Matt Roush
    It's a harmless, standard-issue - cheesy - detective (actually, insurance investigator) series in the vein of Rockford Files-like unwilling heroes. [2 Nov 1988]
    • USA Today
    • 34 Metascore
    • 37 Matt Roush
    Jon Lovitz, reprising his hilarious sharp-tongued scout from the movie, has the right idea. He won't be back next week. [12 Apr 1993, p.3D]
    • USA Today
    • 51 Metascore
    • 37 Matt Roush
    Say what literary critics will about John Grisham's best sellers, they're not dull. And dull is about the best you can say of the series derived from John Grisham's The Client. [15 Sept 1995, p.3D]
    • USA Today
    • 53 Metascore
    • 37 Matt Roush
    What USA Network's adaptation lacks in star power (and does it ever) it tries to overcompensate for in atmosphere -- the same humid texture of New Orleans smells, tastes and music as in the 1987 film. But there's such a thing as laying it on too thick. The Big Easy gags on its local color. [9 Aug 1996, p.3D]
    • USA Today
    • 35 Metascore
    • 30 Matt Roush
    Bad enough that dark-haired Sandra Bullock lacks the fuzzy but tough quirkiness of Melanie Griffith's Tess. And that Nana Visitor's boss lady, a two-faced Yalie named Bryn, has none of the swagger and venomous sting of Sigourney Weaver's comic caricature...But to make matters worse, by the end of the opener these two now- conventional gals are more allies than adversaries. [16 Apr 1990, p.3D]
    • USA Today
    • 71 Metascore
    • 30 Matt Roush
    Bores by being relentlessly glum.
    • 51 Metascore
    • 30 Matt Roush
    Heist is a tiresome mess.
    • TV Guide
    • 29 Metascore
    • 30 Matt Roush
    [A] colorless angstfest.
    • 41 Metascore
    • 30 Matt Roush
    Like a sunnier version of thirtysomething, lacking only the inspired casting, the insightful writing and the wrenching realism.
    • 40 Metascore
    • 30 Matt Roush
    [A] generic dud.
    • TV Guide
    • 43 Metascore
    • 30 Matt Roush
    It's partially improvised, which comes off looking like they're having more fun than we are.
    • 48 Metascore
    • 30 Matt Roush
    Downbeat and earnestly preachy about community and survival, this weird show is further hampered by glum Skeet Ulrich’s miscasting as the all-purpose prodigal hero.
    • 28 Metascore
    • 30 Matt Roush
    Rules would be more engaging if it weren't so familiar, but there is at least one consistently hilarious performance: Patrick Warburton.
    • 45 Metascore
    • 30 Matt Roush
    Overwritten and underacted (by the kids anyway), it strings out its weekly climactic shockers — some of them truly unnerving — with artery-hardening blobs of moldy adolescent whining.
    • 65 Metascore
    • 30 Matt Roush
    Silverman reminds us how quickly the novelty can wear off while watching a pixie with a potty mouth.
    • 35 Metascore
    • 30 Matt Roush
    All together now: "I don't!"
    • 68 Metascore
    • 30 Matt Roush
    I find The Riches emotionally flat, borderline pretentious and (metaphor acknowledged) dramatically phony.
    • 50 Metascore
    • 30 Matt Roush
    Welcome to the Captain, a tepid comedy about would-be wackos in a Hollywood apartment building, is such a dud that it's likely to only make some of us miss the funnier "Big Bang Theory" (which it temporarily replaces) even more.
    • 29 Metascore
    • 30 Matt Roush
    Even without a death slot on Fridays, this strained story would be a tough sell.
    • 36 Metascore
    • 30 Matt Roush
    More attention [is] paid to recreating the glam disco milieu than to developing character.
    • 48 Metascore
    • 30 Matt Roush
    This shockingly ordinary new legal drama from Steven Bochco should seem right at home amid TNT’s ubiquitous Law & Order reruns. It feels like something you’ve seen before, maybe from way back when L&O was new.
    • 50 Metascore
    • 30 Matt Roush
    It’s not that The Vampire Diaries is a truly terrible show. It’s just so insipid and uninspired.
    • 42 Metascore
    • 30 Matt Roush
    Past Life is so glum, lugubrious and blandly cast I felt I had temporarily regressed into someone who in a past life hated television.
    • 52 Metascore
    • 30 Matt Roush
    It could as easily be Sesame Street as Brewster Place, the way everyone has become so doggone lovable and earnest in this transformation from dark- edged 1989 miniseries to sunny weekly half-hour drama. [1 May 1990]
    • USA Today
    • 45 Metascore
    • 30 Matt Roush
    This lightweight medical drama still needs serious script surgery.
    • 54 Metascore
    • 30 Matt Roush
    It's not only the trash that's stinking on Melissa & Joey.
    • 51 Metascore
    • 30 Matt Roush
    This show does not bring it on.
    • 42 Metascore
    • 30 Matt Roush
    The mock-retro sitcom Big Lake, which boasts big-name producers (Will Ferrell, Adam McKay and Chris Henchy, whose The Other Guys is currently in theaters) but little in the way of actual comedy.
    • 54 Metascore
    • 30 Matt Roush
    Even the people who matter to him most are sketchily drawn, while others are almost laughable caricatures, including a friend's saucy cheating wife, purred by Kim Cattrall.
    • 43 Metascore
    • 30 Matt Roush
    If you have the misfortune of meeting their tiresome friends, you'll sympathize with them. And I can't imagine anyone wanting to come back for more.
    • 42 Metascore
    • 30 Matt Roush
    Talky and grim, and more than a little bland, Outcasts almost entirely lacks humor, wonder and engaging characters.
    • 52 Metascore
    • 30 Matt Roush
    Weirdly, both the pilots of Breaking In and Comedy Central's execrable new time-waster Workaholics include multiple references to urine.
    • 43 Metascore
    • 30 Matt Roush
    Watching Hart of Dixie is like mainlining praline. Your mind will rot before your teeth do.
    • 42 Metascore
    • 30 Matt Roush
    It couldn't be more forgettable, but what's really irksome is the waste of a strong supporting cast.
    • 51 Metascore
    • 30 Matt Roush
    An unpleasant show about miserable people working in an environment (corporate public relations) that's about as welcoming as Chernobyl.
    • 49 Metascore
    • 30 Matt Roush
    Relying heavily on sex talk and slapstick, Whitney is the kind of show where less funny people surround the star, always commenting on her zany actions.
    • 36 Metascore
    • 30 Matt Roush
    A charmless buddy comedy where three tiresome stooges question their embattled masculinity.
    • 49 Metascore
    • 30 Matt Roush
    The Exes feels like a stale Frankenstein sitcom cobbled together with spare parts--by which we mean veteran actors--who made their names on better shows.
    • 46 Metascore
    • 30 Matt Roush
    With a look recalling the glories of King of the Hill, but no discernible point of view or comic fuse of its own, Dynamite is a dud.
    • 54 Metascore
    • 30 Matt Roush
    [A] toothless hourlong teen-com.
    • 52 Metascore
    • 30 Matt Roush
    It feels the opposite of relevant and fresh.
    • 57 Metascore
    • 30 Matt Roush
    NYC 22 isn't even trying. It's not too too, it's too little.
    • 56 Metascore
    • 30 Matt Roush
    If the show were as exciting as it is improbable, Missing could qualify as a guilty pleasure. All it's missing are a few crucial ingredients: originality and intelligence.
    • 56 Metascore
    • 30 Matt Roush
    The writing telegraphs every trite and derivative twist, whether violent or sexual or some combination of the two to remind us this is pay cable and not some musty rerun.
    • 37 Metascore
    • 30 Matt Roush
    This spinoff of Jersey Shore has possibly even less substance, as the high-haired DJ from Rhode Island gets a residency gig at a Las Vegas casino, and brings his motley crew of homeboys with him to marvel at their swank new digs.
    • 36 Metascore
    • 30 Matt Roush
    Men at Work is junk of the most disposable nature, a sex-obsessed comedy set at a phony-even-by-sitcom-standards magazine.
    • 41 Metascore
    • 30 Matt Roush
    Unfortunately, there are few shows this season worse or more grating than tonight's Malibu Country, where the beachfront corn grows awfully and annoyingly high.
    • 48 Metascore
    • 30 Matt Roush
    Crystal (previously seen in the Night at the Museum movies, the second Hangover film and a memorable cameo on Community) steals what little show there is here.
    • 64 Metascore
    • 30 Matt Roush
    There is exactly one interesting storyline.
    • 60 Metascore
    • 30 Matt Roush
    A trite and drab melodrama about women on the WWII homefront who go to work on the dangerous front lines of a munitions factory, assembling bombs that aren't nearly as lethal as the corny dialogue and the comically stilted performances.
    • 37 Metascore
    • 30 Matt Roush
    This buddy sitcom feels contrived, derivative (instead of Megan Mullally, we get a stereotyped sassy and buxom Latina secretary) and sadly lacking in essential chemistry.
    • 49 Metascore
    • 30 Matt Roush
    Chicago Fire isn't half bad when the fires and other crises take over as the star of the show. It's after the smoke clears and the stories kick back in that you begin to realize the only way to salvage these sorry stereotypes in uniform is to burn them the only way we know how.
    • 50 Metascore
    • 30 Matt Roush
    You've heard of open-and-shut cases. Motive is more like open and yawn.
    • 44 Metascore
    • 30 Matt Roush
    One thing I'll say for these friends: They could all use better writing.
    • 46 Metascore
    • 30 Matt Roush
    Reckles is merely witless, akin to a trashy and disposable beach read that should come with its own sunscreen--or perhaps a wet bar to distract us from the cheesy plotting and cardboard acting.
    • 43 Metascore
    • 30 Matt Roush
    This shrill parable of redemption, being burned off in back-to-back episodes, is like a spiritual Enlightened for the tone deaf.
    • 43 Metascore
    • 30 Matt Roush
    This isn't so much a comeback as a case of go away and try again.
    • 44 Metascore
    • 30 Matt Roush
    [Ironside's] handicap has nothing to do with a wheelchair but with a preposterous attitude that's in your face and laughably over-the-top. When the show isn't being a thuddingly ordinary procedural, it's mawkish, wasting The Killing's Brent Sexton as Ironside's shattered partner--yes, an emotional cripple.
    • 54 Metascore
    • 30 Matt Roush
    When you have talent like Adam Scott (John Wilkes Booth), Bob Odenkirk (Nixon) and Jack Black (Elvis) on hand, why not let them improv their own material? They're wasted as puppets trapped in this sad, thin vaudeville.
    • 52 Metascore
    • 30 Matt Roush
    [A] turgid and convoluted pilot.
    • 49 Metascore
    • 30 Matt Roush
    Lucky 7 fails to loosen up these sentimentalized working stiffs into anything resembling fully rounded characters, and wish fulfillment soon turned into a wish that I was watching something else.
    • 50 Metascore
    • 30 Matt Roush
    This subculture specializes in the "three T's": teleportation, telepathy, telekinesis. They forgot "tired," "tepid" and "too too derivative," which much better describes the experience of meeting these lost kids.
    • 40 Metascore
    • 30 Matt Roush
    It's a painfully obvious shtick, so camp and arch it's impossible to enjoy the joke.
    • 48 Metascore
    • 30 Matt Roush
    Sadly, Kirstie is all about cheese, including the moldy hook of the show's gimmicky premise.
    • 72 Metascore
    • 30 Matt Roush
    The pilot episode involves an endless debate over a mysterious "fecal deposit" left on a chair. Let that be a metaphor.
    • 49 Metascore
    • 30 Matt Roush
    I'm not quite sure why this needed to be remade, but Lifetime's curiously inert adaptation of V.C. Andrews' twisted Gothic Flowers in the Attic at least gives Ellen Burstyn the opportunity to display her florid take on a classic Nurse Ratched/Baby Jane psycho character