For 63 reviews, this critic has graded:
  • 65% higher than the average critic
  • 0% same as the average critic
  • 35% lower than the average critic
On average, this critic grades 1.4 points lower than other critics. (0-100 point scale)

Phil Gallo's Scores

Average review score: 65
Highest review score: 100 Gideon's Crossing: Season 1
Lowest review score: 10 Standoff: Season 1
Score distribution:
  1. Positive: 38 out of 63
  2. Negative: 10 out of 63
63 tv reviews
    • 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.
    • 59 Metascore
    • 60 Phil Gallo
    There’s a good possibility the first two “Watching Ellie’s” won’t generate more than four out-loud chuckles, but that’s no reason for audiences or networks to give up on this series’ prospects.
    • 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]
    • Variety
    • 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]
    • Variety
    • 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.
    • 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.
    • 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.
    • 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]
    • Variety
    • 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.
    • 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.
    • 29 Metascore
    • 40 Phil Gallo
    The show's cast is potentially likable; once they're given a script that doesn't feel so derivative and stuck on a single note, show could blossom. [23 Sept 2002, p.22]
    • Variety
    • 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]
    • Variety
    • 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].

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