Phil Rosenthal
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For 84 reviews, this critic has graded:
  • 50% higher than the average critic
  • 9% same as the average critic
  • 41% lower than the average critic
On average, this critic grades 3.4 points higher than other critics. (0-100 point scale)

Phil Rosenthal's Scores

Average review score: 68
Highest review score: 100 Deadwood: Season 2
Lowest review score: 12 The Trouble with Normal: Season 1
Score distribution:
  1. Positive: 61 out of 84
  2. Negative: 6 out of 84
84 tv reviews
    • 87 Metascore
    • 100 Phil Rosenthal
    Ed is, unabashedly, a feel-good show that dangerously flirts with being too eccentric, too sentimental and way too whimsical...It's nothing short of a miracle that it manages to toe each of those lines without crossing any of them -- the kind of miracle that has you thinking all good things can happen and ultimately will. [6 Oct 2000, p.54]
    • Chicago Sun-Times
    • 97 Metascore
    • 100 Phil Rosenthal
    "The Sopranos" ... continues to shock, stun and amaze. It is why you get HBO, why you get cable, why you get a television. [12 Jan 2000]
    • Chicago Sun-Times
    • 88 Metascore
    • 100 Phil Rosenthal
    '24' looks to be appointment television. [6 Nov 2001]
    • Chicago Sun-Times
    • 83 Metascore
    • 100 Phil Rosenthal
    The sometimes laughable soap opera aspects of the first year have been minimized. The pulse-racing, adrenaline-fueled suspense has been ratcheted up. If anything, this white-knuckle joy ride now moves faster than the clock that ticks steadily through each episode. [28 Oct 2002]
    • Chicago Sun-Times
    • 93 Metascore
    • 100 Phil Rosenthal
    It takes a while to get into the rhythms of Gervais' writing and seemingly improvised acting, but once you've become a fan, it's the kind of show you can watch over and over. [10 Oct 2003]
    • Chicago Sun-Times
    • 93 Metascore
    • 100 Phil Rosenthal
    Not for the squeamish, the second season debut of this raw, unrefined Western takes about 10 minutes to get wound up and then it zips along with the first signs of civilization -- outside government and the telegraph -- threatening to invade. If the language doesn't make you wince, the stinking mud of the vice-filled mining boomtown will practically make your eyes water. What creator David Milch is saying about the foundation of U.S. expansion west isn't always easy to take, but it's often poetic just the same. And the performances led by Ian McShane, Brad Dourif and Timothy Olyphant are something to behold. [4 Mar 2005, p.57]
    • Chicago Sun-Times
    • 75 Metascore
    • 90 Phil Rosenthal
    As good a new drama as there is this fall. [19 Sep 2002]
    • Chicago Sun-Times
    • 69 Metascore
    • 88 Phil Rosenthal
    This update is well-written, well-acted, well-shot and, well, just darned entertaining. [6 Oct 2000, p.55]
    • Chicago Sun-Times
    • 79 Metascore
    • 88 Phil Rosenthal
    One serious failing of the pilot is that, well, the group is nearly all white. There's barely a healthy tan in the bunch. Sorkin and Wells claim this is true only of the first episode and that more people of color will be added in subsequent hours....They better be. Not only is their absence an affront to minorities everywhere, it's an insult to our intelligence in what otherwise is a very smart show. [22 Sept 1999, p.47]
    • Chicago Sun-Times
    • 87 Metascore
    • 88 Phil Rosenthal
    The comparisons to "Ally McBeal" and the superior "My So-Called Life" are obvious, and there are plenty of reasons to pick this show apart. But when you're watching it, you don't care. These characters are already like old friends. You want to scream at them when they do something stupid and pat them on the back when they don't. [29 Sept 1998, p.45]
    • Chicago Sun-Times
    • 97 Metascore
    • 88 Phil Rosenthal
    It is nearly impossible for [The Sopranos] to match expectations, which may be why it doesn't. ... The series has grown coarser, more base. [28 Feb 2001]
    • Chicago Sun-Times
    • 79 Metascore
    • 88 Phil Rosenthal
    John C. McGinley is a comedic genius. While series lead Zach Braff tries to channel Tom Cavanagh from "Ed" in this single-camera, laugh-track-free comedy about young doctors-in-training from "Spin City" co-creator Bill Lawrence, it's character actor McGinley ("Wall Street") who owns and almost singlehandedly carries the show in his supporting role as mentor Phil Cox. [2 Oct 2001, p.47]
    • Chicago Sun-Times
    • 93 Metascore
    • 88 Phil Rosenthal
    Larry David's greatest asset as a comedian and a writer has always been the ability and, more importantly, the courage to straddle the razor blade's difference between funny and painful. [13 Sep 2002]
    • Chicago Sun-Times
    • 88 Metascore
    • 88 Phil Rosenthal
    Its lack of niceties makes for a love-hate affair for viewers. [2 Jan 2004]
    • Chicago Sun-Times
    • 78 Metascore
    • 88 Phil Rosenthal
    It's hard to say from the series whether "Stolen Summer" will succeed as a movie, but it's abundantly clear that Project Greenlight works as television. [30 Nov 2001, p.59]
    • Chicago Sun-Times
    • 92 Metascore
    • 88 Phil Rosenthal
    This is a darker "NYPD Blue," "The Job" without the jokes, the LAPD Rampart scandal without, so far, the indictments. Does The Shield need the R-rated language, violence and nudity that FX has allowed it? Probably not. But don't let that scare you off, either. [12 Mar 2002, p.39]
    • Chicago Sun-Times
    • 89 Metascore
    • 88 Phil Rosenthal
    Donnie Wahlberg, Neal McDonough, Jason Gedrick, Mykelti Williamson, Nina Garbiras, Gary Basaraba and Lana Parilla elevate this cop show into something that would be fairly interesting even without the "Pulp Fiction"/"Rashomon"-esque technique of telling stories from a variety of perspectives and in a non-linear time line. It's not entirely clear that this gimmick makes the stories better or more interesting, but it does make them unique. [27 Sept 2002, p.49]
    • Chicago Sun-Times
    • 70 Metascore
    • 88 Phil Rosenthal
    Sisco smolders but never flames up or burns out, played by Gugino with a steady, unflinching calm that reflects a character who never makes presumptions and who's willing to see the shades of gray in typically black and white situations, like any great Leonard hero or heroine. [1 Oct 2003, p.61]
    • Chicago Sun-Times
    • 88 Metascore
    • 88 Phil Rosenthal
    Funny stuff. Now if only it could find an audience. [5 Nov 2004, p.51]
    • Chicago Sun-Times
    • 86 Metascore
    • 88 Phil Rosenthal
    Lost may prove to be a find. It also could go down in flames. For its first couple of weeks, though, there's no question it's quite a thrill ride. [22 Sept 2004, p.65]
    • Chicago Sun-Times
    • 86 Metascore
    • 88 Phil Rosenthal
    The language and sentiments are often unfiltered and raw, maybe more than you want at times, but Leary is a master at playing guys on the edge and this is an extraordinary showcase, by turns moving, funny and stunning. [21 July 2004, p.61]
    • Chicago Sun-Times
    • 79 Metascore
    • 88 Phil Rosenthal
    "Desperate Housewives" is, quite simply, a very good time. [30 Sep 2004]
    • Chicago Sun-Times
    • 65 Metascore
    • 88 Phil Rosenthal
    The shrewd thing about John Doe is that it uses its fantasy element as an addition, not a substitute for interesting characters and good storytelling. At its heart, this is just a mystery show with a twist. [20 Sept 2002, p.46]
    • Chicago Sun-Times

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