For 139 reviews, this critic has graded:
  • 60% higher than the average critic
  • 2% same as the average critic
  • 38% lower than the average critic
On average, this critic grades 7.5 points lower than other critics. (0-100 point scale)

Ray Richmond's Scores

Average review score: 57
Highest review score: 100 Gilmore Girls: Season 1
Lowest review score: 0 Unan1mous: Season 1
Score distribution:
  1. Positive: 62 out of 139
  2. Negative: 33 out of 139
139 tv reviews
    • 81 Metascore
    • 100 Ray Richmond
    Gilmore Girls is a genuine gem in the making, a family-friendly hour burdened by neither trite cliche nor precocious pablum. It is as fresh and real as "Dawson's Creek" is stale and contrived. In the process, it re-energizes the 8 o'clock hour with a bracing burst of heart. [5 Oct 2000]
    • The Hollywood Reporter
    • 99 Metascore
    • 100 Ray Richmond
    "Larry Sanders" remains a piece of small-screen art, a series whose wildly colorful characters and flawless execution make it the wittiest half-hour on TV. [12 Mar 1998]
    • Variety
    • 96 Metascore
    • 100 Ray Richmond
    The first four installments supplied for review have moments of artsy overindulgence, to be sure, but largely remain true to the show's roots in darkness and absurdity while carving out fresh story arcs that are as compelling as any the writers have ever crafted. It's like peering at a series of train wrecks as rendered by da Vinci.
    • 62 Metascore
    • 90 Ray Richmond
    As animation, it's substandard, primitive dreck; as comedy, however, it's gloriously subversive art. [12 Aug 1997]
    • Variety
    • 91 Metascore
    • 90 Ray Richmond
    The show gets back to where it belongs: under Larry's expansive roof and inside his incessantly neurotic, disgracefully tactless and unerringly heartless skin.
    • 74 Metascore
    • 90 Ray Richmond
    It's simply a great idea that, if early indications are accurate, could stand as a horror classic for a television genre that's been inconsistent at best over the years.
    • 69 Metascore
    • 90 Ray Richmond
    Brilliantly original but wise and low-key.
    • 80 Metascore
    • 90 Ray Richmond
    Forget everything I ever wrote about "Mad Men." This is the best drama series on television.
    • 90 Metascore
    • 90 Ray Richmond
    Think of "The Office," "Larry Sanders," "Spin City" and "Yes Minister" rolled into one delirious stew.
    • 68 Metascore
    • 90 Ray Richmond
    A rip-roaring thriller... that pulls off the rare trick of being both massively intelligent and unbearably intense.
    • 79 Metascore
    • 90 Ray Richmond
    This mini holds you in its thrall from beginning to end, and the twists along the way are seemingly endless. A riveting ride, indeed.
    • 88 Metascore
    • 90 Ray Richmond
    Far from devolving into soapy Madison Avenue pablum, Mad Men is painstakingly building its way to genuine greatness.
    • 85 Metascore
    • 90 Ray Richmond
    Breaking Bad is indeed so flat-out superb it appears to be operating at a different level than just about everybody else save AMC's own "Mad Men" and maybe a couple of shows over at FX.
    • 81 Metascore
    • 90 Ray Richmond
    Bolstered by superb acting and first-rate direction and cinematography, Kill delivers the goods in ways both unexpected and rewarding.
    • 84 Metascore
    • 90 Ray Richmond
    The most entertaining new comedy premiering in primetime this fall, precisely because it doesn't look or feel like anything else the networks are tossing against the wall. It cleverly defies all of the dreary fall sitcom trends: black people moving into white neighborhoods, single parents struggling to hold housefuls of screaming brats in line, gay men yearning to make sense of a straight world, and young adults basically acting like idiots. [21 Sept 1998, p.44]
    • Variety
    • 75 Metascore
    • 90 Ray Richmond
    Maximum Bob is like a consciousness-expanding narcotic transferred to film stock. If it's sometimes too taken with its own sense of wacky, it surely deserves kudos for putting out the effort at all. [3 Aug 1998, p.04]
    • Variety
    • 58 Metascore
    • 80 Ray Richmond
    The actors, including the charismatic William Petersen and the exquisite Marg Helgenberger, lend credibility to the portrayals that might be indistinct in lesser hands. There's also a compelling, pulsating edge at the outset of CSI that commands instant attention, thanks in part to dynamic work from director Danny Cannon. [5 Oct 2000]
    • The Hollywood Reporter
    • 73 Metascore
    • 80 Ray Richmond
    Offbeat, engaging and smartly written ... "Ally McBeal" is the rare example of a broadcast network premiering a series that feels fresh and different, if occasionally contrived. [8 Sep 1997]
    • Variety
    • 81 Metascore
    • 80 Ray Richmond
    For all its implausibility, by the end of the "Dharma and Greg" pilot, you're smiling anyhow. [22 Sept 1997]
    • Variety
    • 79 Metascore
    • 80 Ray Richmond
    The show hits the ground in midseason form after eight months and one change of venue, integrating a new crop of interns with seamless aplomb and again demonstrating how to fuse dramatic elements into a sitcom without breaking a sweat.
    • 72 Metascore
    • 80 Ray Richmond
    Fortunately for the audience, the show on which he struggles to save the republic is back on track after a season of misdirection followed by a year away.
    • 79 Metascore
    • 80 Ray Richmond
    It's always been well-acted and crafted with surprising restraint. But as the dawn of this new campaign underscores, the production team looks to be taking things to another level beyond serialized contrivance.
    • 78 Metascore
    • 80 Ray Richmond
    It makes mincemeat of conventional TV taboos and has, in Parker, a star whom the camera adores.
    • 64 Metascore
    • 80 Ray Richmond
    It embodies many of the same elements that made Star's HBO half-hour a winner. That means an energetic blend of sex, sophistication, outlandishness and rat-a-tat-tat dialogue spilling from the mouths of effortlessly attractive characters in a sleek setting.
    • 74 Metascore
    • 80 Ray Richmond
    A new BBC America sci-fi/thriller that's so good and unsettling and creepy that even grumps like myself can't help but be in its thrall.
    • 62 Metascore
    • 80 Ray Richmond
    This show goes in for neither cheap gags nor easy stereotypes, crafting a thought-provoking narrative that embodies genuine sociological heft without transforming its subjects into buffoons.
    • 67 Metascore
    • 80 Ray Richmond
    Outrageous, bizarre, effortlessly hip and unsubtle in magically edgy ways.
    • 52 Metascore
    • 80 Ray Richmond
    Powerfully acted, artfully produced and shot like a truly riveting page-turner.
    • 73 Metascore
    • 80 Ray Richmond
    Dinosaurs are certainly alive and well in Primeval, a crackling-good new BBC America sci-fi series thriller that's packed with vivid CGI prehistoric predators galore and a story line that's almost plausible.
    • 51 Metascore
    • 80 Ray Richmond
    WMC--that's what the hip people will no doubt soon be calling it--sprints energetically from the gate carrying genuine qualitative heft: charismatic leads, snappy dialogue and an agreeable blend of lighthearted and dramatic.
    • 70 Metascore
    • 80 Ray Richmond
    The performances of the players are so uniformly terrific that you could do worse than to bring these deeply flawed characters into your living room on a regular basis, as this is a series for which TiVo was invented if ever there was one.
    • 68 Metascore
    • 80 Ray Richmond
    The acting here is first-rate, the details sharp and the cinematography superb. In other words, Tudors hasn't lost a step.
    • 52 Metascore
    • 80 Ray Richmond
    This new NBC time-travel drama is fairly mind-blowing and harrowing, laying out a preposterous scenario that it makes feel nonetheless believable.
    • 61 Metascore
    • 80 Ray Richmond
    A very un-Lifetime-like drama with sharp comedic overtones, one so well-constructed that dudes won't even feel the need to check their gender at the door.
    • 66 Metascore
    • 80 Ray Richmond
    We get the feeling Grier is much more concerned with scoring a laugh than raising an issue, which makes his well-placed jabs all the more clever.
    • 64 Metascore
    • 80 Ray Richmond
    Although no half-hour TV series is going to capture the visual splendor and sophisticated sound of the big-screen experience, it's surprising how well this series reflects the style, attitude, ideals and spirit of the six "Star Wars" films.
    • 67 Metascore
    • 80 Ray Richmond
    Anyone who makes it past the pilot is in for a pleasant surprise: Things greatly improve as the show settles into a comfortable rhythm through Episodes 2, 3 and 4. United States of Tara breaks new ground when it comes to warped dramatic family comedy.
    • 62 Metascore
    • 80 Ray Richmond
    What further elevates the half-hour is the deadpan, deer-in-the-headlights fashion in which his co-stars orbit around McBride, who seems instinctively to understand that being a delirious bastard means never having to say you're sorry.
    • 67 Metascore
    • 80 Ray Richmond
    There's a thriller aspect to it that dovetails nicely with the sassier elements. But the show never devolves into wanton erotica. And all I know is through each of the first four screened episodes, I couldn't wait to get to the next installment.
    • 53 Metascore
    • 80 Ray Richmond
    Doesn't sound like the formula for compelling, consequential drama, but quarterlife manages to take these typically narcissistic young adults and make them legitimately interesting.
    • 62 Metascore
    • 80 Ray Richmond
    The Ex List is one of those rare new season surprises that consistently charms straight out of the box, boasting a clever premise (borrowed from Israeli television) and a disarmingly appealing lead in Elizabeth Reaser (a recurring player on "Grey's Anatomy").
    • 64 Metascore
    • 80 Ray Richmond
    The first pair of episodes augur a breezily entertaining addition to the TNT stable of dramatic originals.
    • 78 Metascore
    • 80 Ray Richmond
    As a follow-up to the groundbreaking summer series "Hopkins 24/7" that ran nearly eight years ago, this revisit to the medical center is, if anything, even more grounded in authenticity and honesty, even if it sometimes feels compelled to pile on the soapy elements.
    • 57 Metascore
    • 80 Ray Richmond
    IFC's new 10-episode, late-night original comedy Z Rock is effortlessly, genuinely hilarious.
    • 68 Metascore
    • 80 Ray Richmond
    It's the clever satire for which we've all been waiting.
    • 68 Metascore
    • 80 Ray Richmond
    Bette is full of good-natured mischief and proves a surprisingly easy fit for Midler. The weaknesses are obvious enough: a need to ease up on the fat jokes and the broad physical farce that's a little too obvious. But the screen loves Midler, which is never more apparent than during a scene that finds her turning a Kid Rock rap-rock tune into a jazzy swing number. You can't write that into a script; it's pure magic. [11 Oct 2000]
    • The Hollywood Reporter
    • 74 Metascore
    • 80 Ray Richmond
    Mostly succeeds with cynically outlandish gusto, blurring the reality lines while rendering a fresh new antihero for the '90s in superagent Arliss Michaels. [5 Aug 1996, p.34]
    • Variety
    • 66 Metascore
    • 80 Ray Richmond
    A show that has smarts, guts, style and attitude to spare. [14 Apr 2003]
    • The Hollywood Reporter
    • 61 Metascore
    • 70 Ray Richmond
    Charmed has an entertaining little way about it, with Spelling and company mostly striking a solid balance between escapist slap-schtick and mild horror. If the opening hour isn't terribly concerned with issues of believability, relatability and self-parody (pilot is notably short on humor), it's likely a saucy enough brew for the WB's target 12-24 demo to swallow. [7 Oct 1998, p.5]
    • Variety
    • 68 Metascore
    • 70 Ray Richmond
    It remains a wholly impressive piece of work, stylish and graphic and bold in equal measure while at the same time greatly lacking a cohesive focus.
    • 55 Metascore
    • 70 Ray Richmond
    While "Bones" has too much "X-Files" and "CSI" going in the pilot to feel completely original, it's nonetheless a taut, well-constructed, character-rich procedural with genuine potential.
    • 58 Metascore
    • 70 Ray Richmond
    It takes itself seriously pretty much not at all, which is precisely what we want at 10 p.m. on a summer Friday.
    • 65 Metascore
    • 70 Ray Richmond
    The visual style is nothing terribly special, but the hues are rich, the writing reasonably clever and the premise a healthy cut above the often lame-o material that passes for creativity in the kiddie toon universe.
    • 57 Metascore
    • 70 Ray Richmond
    A slick and earnest soap about rival families in South Florida.
    • 64 Metascore
    • 70 Ray Richmond
    The premiere teleplay from Christian Taylor does a capable, if slightly workmanlike, job of setting the stage for what's to follow, while Coster-Waldau paints a beguiling portrait of a brooding, conflicted, undeniably charismatic soul.
    • 29 Metascore
    • 70 Ray Richmond
    Here we have another of those twisted, hit-and-miss, 10 o'clock-hour romps from Comedy Central that travel boldly and unapologetically over the top.
    • 38 Metascore
    • 70 Ray Richmond
    It's clear that this new Fox original series has its class act together as it follows singers both on the verge or stardom and just starting out as they chase their dreams in the capital of country music.
    • 57 Metascore
    • 70 Ray Richmond
    Although Whedon infuses Dollhouse with an impressively detailed story line and social structure as well as nifty production values, the show lacks something for viewers to grab onto.
    • 61 Metascore
    • 70 Ray Richmond
    My Own Worst Enemy holds our interest despite its utter preposterousness because if there is anything Slater knows how to do, it's present a believable head case.
    • 60 Metascore
    • 70 Ray Richmond
    The single-camera Somebodies concept is gentle and easygoing and character-driven, which potentially makes it a pleasant, earnest little outpost, if not necessarily anything that's going to push primetime in bold new directions.
    • 64 Metascore
    • 70 Ray Richmond
    The Fox drama from the Imagine TV stable is fortunate to have a guy with the talents of Tim Roth as a trump card. But even apart from him, the writing and the concept are sufficiently developed from the get-go to prove an instantly intriguing entry that has the major benefit of following "American Idol" and should hold on to a good portion of that audience.
    • 58 Metascore
    • 70 Ray Richmond
    What lends this passionate new USA Network drama series much of its idiosyncratic energy is an exceptionally committed performance from the exquisite Annette O'Toole. [24 Jul 2000]
    • The Hollywood Reporter
    • 75 Metascore
    • 60 Ray Richmond
    The show does spring out of the box boasting snappy dialogue ... What the show doesn't have is an original premise... or a compelling dynamic between [Debra] Messing and co-star Eric McCormack. [16 Sep 1998]
    • Variety
    • 72 Metascore
    • 60 Ray Richmond
    While this sci-fi spoof saunters onto the Fox midseason sked feeling a tad uninspired at first blush, the promise is clearly there. [29 Mar 1999]
    • Variety
    • 47 Metascore
    • 60 Ray Richmond
    A standard cowboys ‘n’ Indians, good vs. evil horse opera where good looks and good shots come together for the good of mankind.
    • 53 Metascore
    • 60 Ray Richmond
    Both undeniably clever and utterly bizarre --- not always for the better. [28 Jan 1999]
    • Variety
    • 56 Metascore
    • 60 Ray Richmond
    It takes on an early thrilling ride, only to inexplicably start coasting when we need it to shift to the next gear.
    • 42 Metascore
    • 60 Ray Richmond
    Fortunately, "Bars" doesn't take itself or its subject too terribly seriously, allowing for the material's camp value to seep through.
    • 52 Metascore
    • 60 Ray Richmond
    "Drive" is at once exasperating and mesmerizing, utterly ridiculous if you read too much into it but utterly beguiling on its face.
    • 67 Metascore
    • 60 Ray Richmond
    I didn't hate "Top Design" as much as I wanted to.
    • 53 Metascore
    • 60 Ray Richmond
    Big on style but more challenged in terms of substance, Seeker demonstrates much production savvy but at the same time too little provocative/evocative interaction aside from the ultra-violent kind.
    • 51 Metascore
    • 60 Ray Richmond
    Fear is pretty much like most of these genre-specific anthologies: wildly inconsistent, sometimes maddeningly so. But when it hits, it blasts the ball out of the park. When it doesn't, well, at least you have the pools of blood to keep you company.
    • 73 Metascore
    • 60 Ray Richmond
    The creatures are essentially designed as bowling pins for our protagonists to knock over with a well-placed shot and a quip, and Keeslar and Morales’ interaction is nothing if not playful and lively. But you’re left not really knowing if you want to come return and spend a whole lot more time with this quarrelsome twosome.
    • 34 Metascore
    • 60 Ray Richmond
    While it remains true there is nothing new under the sun--in this case, quite literally--the new CBS series Game Show in My Head happens to be legitimately entertaining and a kick to watch.
    • 52 Metascore
    • 60 Ray Richmond
    The action often is energetic and intriguing but is sometimes brought down by Fimmel's uneven performance. The rest of the supporting cast acquits itself well, and Swayze manages to bring the words of scribes Vincent Angell and William L. Rotko to menacing life.
    • 45 Metascore
    • 60 Ray Richmond
    All in all, this isn't a half-bad political thriller. It just would have been better had it been about half as long.
    • 46 Metascore
    • 60 Ray Richmond
    The truth is it really isn't so horrible after all.
    • 37 Metascore
    • 60 Ray Richmond
    There have been far nastier hidden-camera efforts than this. Better ones, too. Yet to be sure, in the opening hour, Howie Do It at least delivers laughs more often than it inspires groans.
    • 71 Metascore
    • 60 Ray Richmond
    As is the case with nearly all sketch-comedy series, this one from "The Daily Show" alum Demetri Martin--and produced by Jon Stewart's Busboy Prods.--is very much hit-and-miss, with the misses outnumbering the hits in the first installment and the hits predominating in the second.
    • 45 Metascore
    • 60 Ray Richmond
    The talented cast isn't quite as successful in getting past the shortcomings of a teleplay (from Rhimes, naturally) that's typically light on believability and heavy on the outrageous.
    • 60 Metascore
    • 60 Ray Richmond
    It ain't bad by basic cable standards. That is to say, Langton is a poised female lead, sufficiently alluring to make you forget the fact that what's going on is all pretty implausible. [13 July 1998, p.34]
    • Variety
    • 70 Metascore
    • 50 Ray Richmond
    A bleak, agonizingly downbeat and occasionally over-stylized vision of prison existence. It's about as pretty as a decaying corpse, and there is no one to root for. [11 July 1997]
    • Variety
    • 51 Metascore
    • 50 Ray Richmond
    It has heart but no teeth, charm without chutzpah. [21 Sept 1998, p.46]
    • Variety
    • 39 Metascore
    • 50 Ray Richmond
    It pulsates with the requisite flash and dash we've come to expect of a Bruckheimer outing, in this case rather like "JAG" on steroids. But at the end of the day it rings emotionally hollow.
    • 54 Metascore
    • 50 Ray Richmond
    This is not a terrible game.
    • 66 Metascore
    • 50 Ray Richmond
    Kitchen Nightmares pushes all of the proper emotional buttons to draw we viewers in. But we're never for a moment able to suspend the notion that we, the audience, are being played.
    • 68 Metascore
    • 50 Ray Richmond
    Its two leads, the New Zealand music-comedy duo of Jemaine Clement and Bret McKenzie, are deadpan and clever but so cloyingly doofy that they're not only tough to root for but difficult to watch for extended periods as well.
    • 44 Metascore
    • 50 Ray Richmond
    There is both everything going on and nothing going on simultaneously in this CW hour, but the series ultimately could click, depending on where things go from here.
    • 68 Metascore
    • 50 Ray Richmond
    Sutter packs the early episodes with colorful dialogue but at the same time so much random violence that it crosses the line to gratuitous.
    • 53 Metascore
    • 50 Ray Richmond
    The pilot and second installment are fun but utterly implausible, and the chemistry between the leads is passable but mostly forced.
    • 47 Metascore
    • 50 Ray Richmond
    Creator/producer Shapiro and company do a commendable job establishing the formula early on. The problem is that the concept is by nature wholly repetitive.
    • 49 Metascore
    • 40 Ray Richmond
    Quite the bloodletting experience, even gratuitously so.
    • 41 Metascore
    • 40 Ray Richmond
    Check your brain at the door and you'll find a potential guilty pleasure lurking within.
    • 52 Metascore
    • 40 Ray Richmond
    Creepily watchable almost in spite of itself through at least the first two nights, the miniseries embodies a veritable symphony of implausibility.
    • 44 Metascore
    • 40 Ray Richmond
    It has moments that are semi-inspired, just not nearly enough of them in the first two installments.
    • 54 Metascore
    • 40 Ray Richmond
    While the preening and the chewed scenery from the cast are at times glorious to behold, there is no substance to wrap our heads around, no one to really root for
    • 35 Metascore
    • 40 Ray Richmond
    The show isn't particularly funny.
    • 35 Metascore
    • 40 Ray Richmond
    The whole story is over the top, but it's mitigated by the sense of humor it has about its own broad elements. The acting is serviceable enough and--to Rosenthal's credit in the pilot--surprisingly consistent. What the plotting lacks in cohesion and suspense, the production often compensates for in visual appeal.
    • 58 Metascore
    • 40 Ray Richmond
    But aside from Garcia, Archer and Louis (who does a colorful turn as the chef), there's too much sizzle here and too little steak.
    • 50 Metascore
    • 40 Ray Richmond
    This series turns out to be far less than the sum of its parts, with the human egos far surpassing the stupid pet tricks in terms of relevance and screen time. And that’s wholly unfortunate.
    • 46 Metascore
    • 40 Ray Richmond
    America's Toughest Jobs has been fully homogenized and networkized to appeal to a more mainstream crowd, meaning it has successfully neutered one of the few unscripted genres with genuine grit and originality and made it look, sound and feel like every other "Survivor" knockoff.
    • 55 Metascore
    • 40 Ray Richmond
    As it is, Opportunity looks to be just another blown opportunity--unless producers Ashton Kutcher, JD Roth and company listen to me, that is.
    • 48 Metascore
    • 40 Ray Richmond
    The "Saturday Night Live" alum and occasional film actor began life as a man of chat by giving his best impression of a deer caught in the headlights while at the same time exhibiting flashes of comic flair.
    • 47 Metascore
    • 40 Ray Richmond
    While the hour is not without its charm, it's just a tad too precious for its own good, so taken with its own lithe coolness that it rather destroys any chance it might have to connect with us on anything greater than a superficial level.
    • 45 Metascore
    • 40 Ray Richmond
    It's all pretty lame stuff, tainted further by Mario Azzopardi's frenetic direction. The effects are seamless enough, but pretty much beside the point in a story that feels not just reheated but terminally lukewarm. The primary problem with Total Recall 2070 is that we can't work up much in the way of enthusiasm or concern for its leaden protagonists, especially when the evildoer (Mancuso) is so much more interesting. [8 March 1990, p.58]
    • Variety
    • 64 Metascore
    • 30 Ray Richmond
    It blends fleeting moments of inspiration with lengthy stretches of utter banality.
    • 42 Metascore
    • 30 Ray Richmond
    The racial fire is oddly muted, the characters disturbingly undefined, the interaction frustratingly nondescript. The truth is, I'm not really sure what this show is supposed to be other than chaotic and boorish
    • 25 Metascore
    • 30 Ray Richmond
    There is a lot of "The Silence of the Lambs" in Fox's creepy new "Killer Instinct," but not enough to make it compelling rather than simply icky.
    • 45 Metascore
    • 30 Ray Richmond
    A painfully contrived premise can't be glossed over by pretty faces and pithy dialogue.
    • 37 Metascore
    • 30 Ray Richmond
    "Twins" is a surprisingly straightforward piece of WB-targeted lowbrow absurdity that's far afield from the sophisticated territory plowed by Kohan and Mutchnick in "Will & Grace."
    • 32 Metascore
    • 30 Ray Richmond
    The inherent melodrama has some absorbing moments, but they're undercut by overheated dialogue and story lines that invariably bite off more than they can easily chew early on.
    • 28 Metascore
    • 30 Ray Richmond
    While this show isn't terrible, demonstrating spirit and energy if not belly laughs, it will need to get funnier very quickly or risk dying a quick, inglorious death.
    • 41 Metascore
    • 30 Ray Richmond
    The premiere winds up misfiring more often than it connects with various jabs, hooks, sucker punches and haymakers, too often going in for outlandish spoof at the expense of cleverness and irony.
    • 52 Metascore
    • 30 Ray Richmond
    There's something a little bit annoying at the core of this reality travelogue that surrounds the means by which the ends are achieved.
    • 53 Metascore
    • 30 Ray Richmond
    You have to suspend an awful lot of disbelief to buy into this premise, and even at that the protagonists aren't nearly compelling enough to care a lot about.
    • 58 Metascore
    • 30 Ray Richmond
    So it turns out that being cowboys isn't so romantic after all. It's also mighty slow-moving from an entertainment standpoint.
    • 36 Metascore
    • 30 Ray Richmond
    Unfortunately, this flick is far more interested in hot bods than an arresting story.
    • 44 Metascore
    • 30 Ray Richmond
    It isn't that "Death" is terrible. It's just too broad to be taken seriously.
    • 21 Metascore
    • 30 Ray Richmond
    You've got to figure that it doesn't bode well for Knight Rider given the fact its human stars--which also include Sydney Tamilia Poitier, Paul Campbell, Bruce Davison and Yancy Arias--are eclipsed by computerized graphics and an emotionless hunk of sleek metal.
    • 58 Metascore
    • 30 Ray Richmond
    Pretentious and far too taken with its own sense of menace, the show casts every line of dialogue as a pronouncement, every action as an uppercut to the chops.
    • 29 Metascore
    • 30 Ray Richmond
    After about an hour of jumbled storytelling and bizarre juxtapositions between the 13th century Latin Kingdom and 21st century New York, the prediction is you'll be less intrigued by the legend of the medieval Knights Templar than you will the prospect of catching up on your reading.
    • 47 Metascore
    • 30 Ray Richmond
    This new ABC Family effort from Brenda Hampton (“7th Heaven”) works feverishly to make an educational institution look like the equivalent of a Nevada brothel but succeeds mostly in transforming high school to high camp. Were these stereotypes any more simplistic, they’d need to come with their own parental warning label.
    • 43 Metascore
    • 30 Ray Richmond
    The only scary aspect is the fact that the Fox programming staff would find such an ungainly, hallucinogenic premise as meriting a Friday-night series order. [5 Oct 2000]
    • The Hollywood Reporter
    • 29 Metascore
    • 20 Ray Richmond
    "Painkiller Jane" has been reincarnated as a far lamer show than it was on first view more than a year ago.
    • 26 Metascore
    • 20 Ray Richmond
    It's an artificial conceit for a superficial show.
    • 42 Metascore
    • 20 Ray Richmond
    Pretty much everything gets tossed against the wall and precious little of it sticks, or even actually makes it as far as the wall.
    • 54 Metascore
    • 20 Ray Richmond
    It's so consumed with its of-the-moment zeitgeist embodiment that it forgets to give its characters any depth beyond their reshaped noses.
    • 33 Metascore
    • 20 Ray Richmond
    Fear Is Real is the dripping-with-irony title of a CW-staged unscripted venture that scarcely could be more fake, a collection of preposterous snapshots of 13 young people trying their best to scream rather than laugh.
    • 48 Metascore
    • 20 Ray Richmond
    Suffers from being a raunchfest in search of a punchline. Any punchline at all will do. [9 Sept 1996]
    • Variety
    • 28 Metascore
    • 10 Ray Richmond
    What this show does prove is that you can be racy and still somehow tediously tame.
    • 30 Metascore
    • 10 Ray Richmond
    The visual effects from coordinator Laird McMurray and his team in the wake of the missile strike are solid enough, though it's never explained why some people get sucked out of the hole and others don't and why, after the plane levels off, the sucking pretty much stops even as the movie itself continues to suck.
    • 33 Metascore
    • 10 Ray Richmond
    [It] panders in a fashion that's akin to a neon sign flashing, "Yoo hoo! Young demographics! Over here!"
    • 48 Metascore
    • 10 Ray Richmond
    Shallow as a birdbath, the program would appear to exist less as a true philanthropic exercise than yet another self-aggrandizing vehicle in Oprah's divine quest to become synonymous with all that is virtuous and good on Earth.
    • 19 Metascore
    • 10 Ray Richmond
    What few laughs were once there [in the orginal pilot] have now been effectively removed.
    • 19 Metascore
    • 10 Ray Richmond
    [It] implodes on pretty much every level.
    • 19 Metascore
    • 10 Ray Richmond
    Seacrest and his cohorts do everything they can to ratchet up the artificial tension and drama, following in the footsteps of so many primetime abominations that have preceded Momma's. Here's the good news: Come fall 2009, 10 o'clock shows like this will be obsolete on NBC, replaced by five nights a week of "A Man Named Jay" (or whatever they choose to call it).
    • 24 Metascore
    • 0 Ray Richmond
    It feels far closer to genre self-parody than it does the genuine article: wildly overproduced and characteristically overbearing, with a concept that plays as utterly insipid.
    • 21 Metascore
    • 0 Ray Richmond
    Here is the equation: privilege + TV cameras x 2 = unwatchability.