For 226 reviews, this critic has graded:
  • 18% higher than the average critic
  • 5% same as the average critic
  • 77% lower than the average critic
On average, this critic grades 10 points lower than other critics. (0-100 point scale)

Mike Hale's Scores

Average review score: 55
Highest review score: 90 Louis C.K.: Oh My God: Season 1
Lowest review score: 10 Amish Mafia: Season 1
Score distribution:
  1. Positive: 71 out of 226
  2. Negative: 20 out of 226
226 tv reviews
    • 74 Metascore
    • 60 Mike Hale
    Unfortunately, the three hours of the show, while they include chases, sexual entrapment, grisly murders and lots of spycraft, never exceed the tension in those quiet opening scenes.
    • 38 Metascore
    • 60 Mike Hale
    Do No Harm is a resolutely lightweight entertainment whose silliness isn't necessarily a deal breaker--if you turn off the right parts of your brain, you might enjoy it.
    • 62 Metascore
    • 60 Mike Hale
    [A] glossy, silly, intermittently entertaining new series.
    • 75 Metascore
    • 60 Mike Hale
    The film’s inevitable compressions, made worse by the amount of empty, self-congratulatory celebrity blathering, mean that every Pryor fan will have omissions to complain about. But the best strategy is probably to sit back and enjoy what’s there.
    • 70 Metascore
    • 60 Mike Hale
    Mild, affable and familiar, Brooklyn Nine-Nine is a show the whole family can snicker at.
    • 74 Metascore
    • 60 Mike Hale
    Mr. Gregg hits the same appealing note of wry authority that he struck in “The Avengers” (it’s not yet clear whether he has any others), and the newcomer Brett Dalton shows some charm as a Bond-style operative. Joss Whedon, meanwhile, has fun with the show’s obligatory jabs of self-awareness.... The first week’s adventure feels perfunctory, though, even given the constraint of introducing characters and back story, and most of the team members are still strictly two-dimensional.
    • 78 Metascore
    • 60 Mike Hale
    It’s treacle, but it’s distinguished by several things, beginning with its relatively dry style and careful modulation of tone and volume--even the shouting and the car chases are discreetly tasteful.
    • 48 Metascore
    • 60 Mike Hale
    Kirstie, with Ms. Alley mugging through her role as a kindhearted narcissist, is more like the Ford Focus. If it’s late and it’s all the rental company has left, you might as well take it.... Rhea Perlman is funny as Thelma, but the real revelation of Kirstie is Michael Richards as the shady chauffeur, Frank.
    • 74 Metascore
    • 60 Mike Hale
    Episodes end with a sit-down interview labeled "Amy Goes Deep"--everything on this show is a double-entendre--in which Ms. Schumer might talk to a sex columnist, a phone-sex operator or a pornography cameraman. That’s a lot of extra business for a half-hour sketch show, and as charming and quick on her feet as Ms. Schumer is in these segments, they can feel like filler.
    • 94 Metascore
    • 60 Mike Hale
    This narrative pokiness is redeemed, as usual, by the machine-tooled professionalism of the production, the lavish attention to the mock-medieval costumes and setting, and the mostly crisp, understated acting by the international cast.... More than ever, though, you may find yourself impatient for the plot to wind around to the more engaging story lines.
    • 71 Metascore
    • 60 Mike Hale
    It’s two characters for the price of one--or for the price of sitting through the three hours (over two nights) of an opaque and contrived thriller.
    • 62 Metascore
    • 60 Mike Hale
    Matador is definitely B-level--serviceable dialogue, not-quite-cartoonish characters, gimmicky editing--but it’s not grindhouse.
    • 67 Metascore
    • 50 Mike Hale
    It offers the minor pleasures of formulaic fantasy and weekly puzzle solving, though in a cheaper-looking and less original package than usual.
    • 64 Metascore
    • 50 Mike Hale
    The show does a creditable job of cataloging the novel's themes, but it has more trouble capturing the story's Victorian-style sweep and texture.
    • 56 Metascore
    • 50 Mike Hale
    Franklin & Bash has some of the ingredients of perfectly adequate summer filler: it's handsomely shot; the writing, line by line, is as good as or better than that of most of the cable competition; and there are appealing actors like Malcolm McDowell, Reed Diamond and Ms. Davis in supporting roles. The problem is that Franklin and Bash themselves are resolutely uninteresting.
    • 45 Metascore
    • 50 Mike Hale
    What we get is an unwieldy and mostly humdrum combination of mob tale and backstage musical.
    • 63 Metascore
    • 50 Mike Hale
    It's neither here nor there: low on sci-fi mystery and intrigue and not yet convincing as ensemble drama. Right now it feels like the beta version.
    • 69 Metascore
    • 50 Mike Hale
    All those profiled are on their best behavior, and the show is so focused on teaching that it goes for long stretches without entertaining.
    • 59 Metascore
    • 50 Mike Hale
    The writers may work their way out of this corner and Mr. McIntyre, who's a bit lightweight at this point, may grow into the central role. In the meantime there are still touches of the unbridled campiness that made the first season amusing.
    • 62 Metascore
    • 50 Mike Hale
    It tries to combine elements of American mob stories and Scandinavian mysteries, seasoned with frequent overt references to "The Sopranos," but the mixture is pretty flat in the first episode.
    • 45 Metascore
    • 50 Mike Hale
    Resolutely generic.
    • 37 Metascore
    • 50 Mike Hale
    Nothing in the first two episodes of The Pauly D Project is more than mildly diverting, but that's still more than can be said for the reboot of the candid-camera prank show "Punk'd."
    • 54 Metascore
    • 50 Mike Hale
    The show around them [the actors], at this point, looks too flat and schematically plotted to succeed as the type of lightweight summer fun we've come to expect from USA.
    • 72 Metascore
    • 50 Mike Hale
    Hit & Miss is so slow and earnest and teachy--several scenes involve Mia's young son exploring his own sexual identity by donning a dress and headband--that much of the show seems to be performed on tiptoe, and a giggle seems like the appropriate response.
    • 49 Metascore
    • 50 Mike Hale
    The medical scenes are competent but forgettable, while the scenes of Charlie's peregrinations are sometimes interesting and funny but surprisingly infrequent.
    • 52 Metascore
    • 50 Mike Hale
    Across the four early episodes provided for review, Pierce's hallucinations are already beginning to feel like stunts covering up for a lack of ideas.
    • 57 Metascore
    • 50 Mike Hale
    The show suffers from a failure to commit: resolutely charting a middle course between cheese-ball parody and something darker and more sophisticated, it manages to be both over the top and consistently flat, too silly to take seriously and too dull to care about.
    • 47 Metascore
    • 50 Mike Hale
    The problem is more likely to be the generic nature of Emily's misadventures, and the soap opera implausibility of the medical stories, which is extreme, even for the genre.
    • 90 Metascore
    • 50 Mike Hale
    [Peter Dinklage, Ciaran Hinds, Paul Kaye, and Dianna Rigg are] all fun to watch, even when their characters don’t have anything in particular to do besides relay information that we need to keep up with the story or keep straight the seven (so we’re told) warring families.
    • 56 Metascore
    • 50 Mike Hale
    "Catfish" was a clever riff on a found-footage thriller, Catfish: The TV Show is a standard reality series mixing elements of the dating and rehab-therapy genres.