For 57 reviews, this critic has graded:
  • 64% higher than the average critic
  • 0% same as the average critic
  • 36% lower than the average critic
On average, this critic grades 0.6 points higher than other critics. (0-100 point scale)

Phil Gallo's Scores

  • TV
Average review score: 66
Highest review score: 100 Curb Your Enthusiasm: Season 4
Lowest review score: 10 Standoff: Season 1
Score distribution:
  1. Positive: 36 out of 57
  2. Negative: 8 out of 57
57 tv reviews
    • 97 Metascore
    • 100 Phil Gallo
    It's difficult to single out any particular aspect of the show: It's just plain brilliant. [13 Jan 2000]
    • 97 Metascore
    • 100 Phil Gallo
    "The Sopranos" retains the title of the most involving series on television and James Gandolfini continues to be a powerhouse of a performer. [2 Mar 2001]
    • 79 Metascore
    • 100 Phil Gallo
    Scrubs is sharp on every level, from script, direction and editing to the well-chosen, handsome cast and the employment of nonreal sequences. [1 Oct 2001, p.4]
    • 93 Metascore
    • 100 Phil Gallo
    Good as "Curb" has been, this 10-episode season should be the year it gets recognized as HBO's finest comedy. [11 Sep 2002]
    • 88 Metascore
    • 100 Phil Gallo
    "Curb Your Enthusiasm" retains its place as the funniest of the funny on television today. [5 Jan 2004]
    • 88 Metascore
    • 100 Phil Gallo
    Captivating from its first minute forward, "24" is the rare example of a television pilot that hits every mark with an aura of excitement and precision, a stellar cast that exudes personality and personal history, and direction that is as taut as it gets. [2 Nov 2001]
    • 88 Metascore
    • 100 Phil Gallo
    The reigning Emmy comedy champ debuts its second season with an episode that may well be its funniest... TV bar's for comedy has been raised again. [5 Nov 2004, p.4]
    • 85 Metascore
    • 100 Phil Gallo
    Cast is uniformly sound and sufficiently distinct without forcing oddballs into the mix. Show's strength in the pilot is its reliance on the ensemble over displaying individual talents but it might well have two secret weapons. One's Rogen, who plays the cool cat who's easily tripped up and has to work on regaining his composure; and Keena, who appears to have a good sense of how to play simple emotions convincingly and might well be on to bigger things. [25 Sept 2001, p.17]
    • 88 Metascore
    • 90 Phil Gallo
    From these visits spin every Soprano tale --- some morose, some wickedly funny, all uncommonly personal --- and its distinctive tone will capture a patient audience looking for an intelligent episodic that isn't sex and shoot-'em-ups. [4 Jan 1999, p.67]
    • 80 Metascore
    • 90 Phil Gallo
    No one has created a funnier TV character this fall. ... While the first four shows have their fair amounts of laugh-out-loud moments, each ends on an enormous knee-splitter; it's a show viewers will remember the following day and likely laugh at even harder than they did the first time. [12 Oct 2000]
    • 81 Metascore
    • 90 Phil Gallo
    The smartest teen-oriented drama since "Freaks and Geeks." A unique and inspired looked at teen angst shrouded in a P.I. show.
    • 64 Metascore
    • 90 Phil Gallo
    One of the sharpest-looking comedy pilots in recent years.
    • 88 Metascore
    • 90 Phil Gallo
    It could be a "Wonder Years" for a new generation.
    • 75 Metascore
    • 90 Phil Gallo
    This is the jewel Showtime has sought for years.
    • 90 Metascore
    • 90 Phil Gallo
    Despair and hopelessness form the intersection at which Charles Dutton studies a drug-addled world that's painfully real and overwhelming. [17 Apr 2000, p.37]
    • 54 Metascore
    • 80 Phil Gallo
    Mannion, played by the formerly lovable "Coach," Craig T. Nelson, is the heart, the soul, the brains --- you name it --- of "The District," and he handles the burden well in the series premiere. [6 Oct 2000, p.22]
    • 75 Metascore
    • 80 Phil Gallo
    Dean Parisot's direction is splendid throughout as he establishes a tone and sticks with it, never getting too jokey or edge-of-the-seat dramatic. [12 July 2002, p.14]
    • 71 Metascore
    • 80 Phil Gallo
    Has the sharpness of the recent remakes of "Italian Job" and "Ocean's Eleven."
    • 86 Metascore
    • 80 Phil Gallo
    For Leary fans, it's a treat to have him back on the air in a smartly drawn, non-PC drama with a heavy comedic element.
    • 71 Metascore
    • 80 Phil Gallo
    Like plots on "Hustle," "24" and "The Shield," there's a bit of incredulousness that comes with each caper. But with persuasive writing, sharp visuals and editing, as well as a steady directorial hand, "Thief" is always convincing.
    • 66 Metascore
    • 80 Phil Gallo
    Kitchen Nightmares is shockingly good storytelling and hilarious. This may be the most compelling show of the new season
    • 74 Metascore
    • 80 Phil Gallo
    Focusing the program on the shaping of a young artist limits the mainstream potential of the interview show but ramped up the opportunity for two musicians to explore the importance of music and musicians rarely name-checked.
    • 68 Metascore
    • 70 Phil Gallo
    Debut is plenty funny yet Fox has a tough job ahead trying to lure ["Beavis & Butt-head"] audiences, which may grow tired of the comic targets, or "The Simpsons" crowd, which may find the antics too restrained. [10 Jan 1997]
    • 68 Metascore
    • 70 Phil Gallo
    First episode lacks the energy and grit of the first season of "Law & Order," but Anthony Jannelli's camera work reveals the guilty, and director Jean De Segonzac and editor Doug Ibold keep the action taught even when it's apparent exactly where things are headed.
    • 76 Metascore
    • 70 Phil Gallo
    Garner played Felicity's new friend in that series' first two years, and here she replaces character's earnestness with ferocity, confusion and concealed pain. She plays the more human side with aplomb, but gets stuck in fight scenes that are so stagy one can count out the steps.
    • 89 Metascore
    • 70 Phil Gallo
    Boomtown, which has a debt to "Law & Order's" nose-to-the-grindstone subtlety, could represent a bold move in episodic TV.
    • 59 Metascore
    • 70 Phil Gallo
    Much of the tone is supplied by an acting ensemble that keeps it light and unforced, combined with some sharp editing. There's a bit too much voiceover, all from Duhamel's McCoy, but it is effective in establishing his mindset. Las Vegas, like the city itself, has guilty pleasure written all over it.
    • 41 Metascore
    • 70 Phil Gallo
    Has the potential to be a real guilty pleasure.
    • 53 Metascore
    • 70 Phil Gallo
    [It] already feels like it's been on air for three seasons... in a good way.
    • 62 Metascore
    • 70 Phil Gallo
    Consistently compelling.
    • 54 Metascore
    • 70 Phil Gallo
    [The] pilot is cleverly written giving the characters a heady, just-specific-enough mix of mystery, intrigue and charm.
    • 48 Metascore
    • 70 Phil Gallo
    Production values are outstanding, and the producers have captured the appropriate tension and devotion that surrounds this world.
    • 79 Metascore
    • 70 Phil Gallo
    The selections in the first two episodes possess compelling strength, whimsy and ambiguity in both the stories and the characters, providing a solid transformation from radio to TV.
    • 53 Metascore
    • 70 Phil Gallo
    DeMange draws out the helplessness and frustrations of the men who visit Belle, which are complemented by Tat Radcliffe's framing of the action.
    • 62 Metascore
    • 70 Phil Gallo
    Dialogue by Diane Ruggiero is sharply written and realistic, observational and unhurried. It remains to be seen, though, whether 9 p.m. Friday viewers are ready for the debate over Vivian's new Brazilian.
    • 64 Metascore
    • 70 Phil Gallo
    It's so stylishly executed, with Mimi Leder's direction, a crisp script and magnetic lead by Dominic Purcell, that the John Doe indeed has a solid identity.
    • 83 Metascore
    • 60 Phil Gallo
    '24' isn't getting off to the spectacular start that it did in its debut season when the focus was singular and clear-cut. [29 Oct 2002]
    • 65 Metascore
    • 60 Phil Gallo
    An absolute visual stunner with compelling freak-show characters --- but the series unfortunately takes a leisurely approach toward getting to a point. [12 Sep 2003]
    • 48 Metascore
    • 60 Phil Gallo
    [It] lacks the flavor of the original and would have worked better under a different title.
    • 42 Metascore
    • 60 Phil Gallo
    It has a few points going for it: Mandy Patinkin's onscreen magnetism; some truly eerie episodes; and a smartness that it wears on its sleeve. On the downside, it draws on too many other recent hits -- "CSI," "Crossing Jordan," "Medium," "House," "Law & Order: SVU""Law & Order: SVU" -- for visual style, character tics, mind games and an ability to find the truth in confounding evidence.
    • 52 Metascore
    • 50 Phil Gallo
    Single and in their 30s, each is a distinct blend of guile, guts and needfulness, traipsing through the dating world with predictable and even trite results, their chatter constantly hitting on sex, relationships and sex. Some good acting and some nicely shot romantic interludes provide some redemption for the series, but scripts need to loosen up and inherit some of the playfulness the actresses bring to their roles. [3 June 1998]
    • 70 Metascore
    • 50 Phil Gallo
    Lack of likable characters may be show’s downfall, though if future hourlongs focus on ethical and personal dilemmas rather than pile them on as occurs in the pilot, Nip/Tuck has some promise.
    • 48 Metascore
    • 50 Phil Gallo
    A model of midseason mediocrity, an hourlong that neither excites nor bores, driven by professional if uninspired acting, writing and direction.
    • 26 Metascore
    • 50 Phil Gallo
    Having four women with sufficiently distinct personalities and a pleasant tone should help the show secure some viewership, but it really belongs on a specialized femme-oriented cable net.
    • 65 Metascore
    • 50 Phil Gallo
    ESPN's eight-episode mini-series plays remarkably flat despite a sharp portrayal by John Turturro as the eye at the center of the storm.
    • 60 Metascore
    • 40 Phil Gallo
    Funny in parts, overlong and out of steam in some taped bits and generally very inside in the humor department. Late night's a good spot for it, but the push for cult appeal in this six-seg series feels forced. [20 Feb 2003, p.10]
    • 24 Metascore
    • 40 Phil Gallo
    It's tough to get an audience to care for any of the players in a show that's just 30 minutes long.
    • 53 Metascore
    • 40 Phil Gallo
    As much as the direction and writing capture appropriate tension in the pilot, they allow it to go slack in the second [episode].
    • 51 Metascore
    • 40 Phil Gallo
    Women's Murder Club has the tone of a show that's designed rather than crafted, a show more concerned about appealing to a target demographic instead of just flowing.
    • 33 Metascore
    • 30 Phil Gallo
    Its humor is simple and, at times, degrading.
    • 38 Metascore
    • 30 Phil Gallo
    There's no sign of passion here; it's all awkward.
    • 38 Metascore
    • 30 Phil Gallo
    The show is as directionless as its stars.
    • 28 Metascore
    • 20 Phil Gallo
    An uninspired collection of cliches, sex jokes and uninvolving characters.
    • 37 Metascore
    • 20 Phil Gallo
    Carpoolers is shockingly dull and unfunny with Fred Goss shoehorned in an uninspiring role.
    • 25 Metascore
    • 20 Phil Gallo
    Thoroughly unfunny paranoid romp through New York. Rev up the midseason replacement. [6 Oct 2000, p.22]
    • 29 Metascore
    • 10 Phil Gallo
    The scripts are sophomoric, the acting wooden and the direction uninspired -- [the] show starts so thin it must have been on the South Beach Diet for months.
    • 37 Metascore
    • 10 Phil Gallo
    An awkward pairing of adult relationship drama and procedural cop show, "Standoff" bombs on both counts.