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 0.3 points higher than other critics. (0-100 point scale)

Phil Gallo's Scores

Average review score: 65
Highest review score: 100 Curb Your Enthusiasm: Season 4
Lowest review score: 10 South Beach: Season 1
Score distribution:
  1. Positive: 38 out of 63
  2. Negative: 10 out of 63
63 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]
    • Variety
    • 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]
    • Variety
    • 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]
    • Variety
    • 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]
    • Variety
    • 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.
    • 54 Metascore
    • 70 Phil Gallo
    [The] pilot is cleverly written giving the characters a heady, just-specific-enough mix of mystery, intrigue and charm.
    • 88 Metascore
    • 90 Phil Gallo
    It could be a "Wonder Years" for a new generation.
    • 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]
    • Variety
    • 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]
    • Variety
    • 88 Metascore
    • 100 Phil Gallo
    "Curb Your Enthusiasm" retains its place as the funniest of the funny on television today. [5 Jan 2004]
    • Variety
    • 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]
    • Variety
    • 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.
    • 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]
    • 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
    • 75 Metascore
    • 90 Phil Gallo
    This is the jewel Showtime has sought for years.
    • 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.
    • 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.
    • 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]
    • Variety
    • 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]
    • Variety
    • 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.
    • 37 Metascore
    • 10 Phil Gallo
    An awkward pairing of adult relationship drama and procedural cop show, "Standoff" bombs on both counts.
    • 78 Metascore
    • 100 Phil Gallo
    A masterful portrayal of the bleakness of the decision-making process within the medical profession, Gideon's Crossing is challenging and arresting television. It's a cerebral approach to issues of healing and loss, made all the more dramatic by the presence of Andre Braugher. [9 Oct 2000, p.4]
    • Variety
    • 78 Metascore
    • 80 Phil Gallo
    It's fly-on-the-wall moviemaking, a must-see for anyone hoping to break into the creative side of the film business. [30 Nov 2001, p.14]
    • Variety
    • 37 Metascore
    • 20 Phil Gallo
    Carpoolers is shockingly dull and unfunny with Fred Goss shoehorned in an uninspiring role.
    • 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.
    • 75 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.
    • 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]
    • 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.
    • 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.
    • 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.

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