For 113 reviews, this critic has graded:
  • 59% higher than the average critic
  • 5% same as the average critic
  • 36% lower than the average critic
On average, this critic grades 2.5 points lower than other critics. (0-100 point scale)

Robert Abele's Scores

Average review score: 63
Highest review score: 100 The Wire: Season 4
Lowest review score: 10 October Road: Season 1
Score distribution:
  1. Positive: 66 out of 113
  2. Negative: 16 out of 113
113 tv reviews
    • 98 Metascore
    • 100 Robert Abele
    A vibrant, masterful work of art, HBO’s novelistic urban saga The Wire is the best show on television.
    • 78 Metascore
    • 90 Robert Abele
    A rich, intelligent and often moving miniseries.
    • 79 Metascore
    • 80 Robert Abele
    Where does that leave Season 6, then, when the show has stemmed major disasters for five years running and its intensity level of choice is 11? As well-oiled as before, actually, and, judging from the four hours airing over Sunday and Monday, unafraid of edging its parallel-universe America ever closer toward a world war nightmare of mass hysteria.
    • 72 Metascore
    • 80 Robert Abele
    Treachery and action still abound on 24--its brand is crisis, after all--but the nail-biting, espionage-like first four hours erect a scenario that promises a recharged season built on smarter suspense gambits than the tiresome 24 (and, by extension, Bushian) tropes of outlandish risk, torture and Armageddon-mongering.
    • 72 Metascore
    • 80 Robert Abele
    It’s something of a feat that the makers of Big Love are willing to put the ugly side of this phenomenon up against the mainstream sheen of Bill’s setup, and -- thanks in great part to the marvelous acting on display, from Paxton’s rugged haplessness to all three women’s unique variations on maternal stress and wifely sensuality -- still offer up a family to root for, warts and all.
    • 79 Metascore
    • 80 Robert Abele
    A series that seems to get better and better with each season, exploring issues of openness in religious belief, economic betterment and emotional escape that are as relevant and chilling as ever.
    • 65 Metascore
    • 80 Robert Abele
    At times it plays like a hybrid of the ticking-bomb thrills from ["24"] and the moral thorniness that undergirds HBO’s excellent crime series The Wire.
    • 72 Metascore
    • 80 Robert Abele
    It’s easily the most interesting of the three [new alien shows], taking the emotional chill and confusion that accompany a family divorce... and lacing them with a narratively complementary dose of body-snatching paranoia.
    • 81 Metascore
    • 80 Robert Abele
    [Merchant and Gervais'] meetings are gemlike exchanges of deadpan incompetence and hair-pulling frustration, worthy of the bygone era of comedy teams.
    • 53 Metascore
    • 80 Robert Abele
    In Keenan and Lloyd’s world of dizzy, barb-tossing sophisticates, this group is confident and well-armed: Channing’s patented ladies-who-lunch tartness, Winkler’s nervous defensiveness, Burrell’s blasé arrogance, Marshall’s droll delivery and Gorham’s frustrated sensitivity all mix like a well-shaken cocktail, even if it’s the kind that gets tossed in somebody’s face.
    • 68 Metascore
    • 80 Robert Abele
    The looseness of the interchanges gives the humor an anti-writers’-room freshness without losing the harshness we’ve come to expect in this Everybody Loves Raymond/Arrested Development age of clashing relatives.
    • 88 Metascore
    • 80 Robert Abele
    So far, Everybody Hates Chris has felt like a textbook example of how you fold a comedian’s sensibility into a familiar TV genre.
    • 52 Metascore
    • 80 Robert Abele
    Insanely watchable.
    • 59 Metascore
    • 80 Robert Abele
    [An] exciting, interesting series.
    • 80 Metascore
    • 80 Robert Abele
    Don’t mistake the slick-but-not-stupid Life on Mars for brain-bending sci-fi or Austin Powers-style farce. Aside from the psychological stress of its star... this is actually at heart an old-school cops-and-robbers show, with that dash of Twilight Zone to give it 21st-century cachet.
    • 67 Metascore
    • 80 Robert Abele
    It’s old-school silly, filmed--defiantly, in these laugh-track-less days--in front of a studio audience, rich with sublimely broad performances, appreciative of the well-timed one-liner and the pratfall, in love with jokes of camera placement and confident in the healing power of a running gag.
    • 67 Metascore
    • 80 Robert Abele
    A weirdly appropriate and hilarious symbol of our times.
    • 75 Metascore
    • 80 Robert Abele
    Close’s burnished enigma characterization works beautifully because Damages, which will spend its 13-episode season detailing the six months that led to the opening shots of a blood-covered Ellen escaping a murder scene, is more a well-oiled genre exercise than the stuff of rigorous personality study.
    • 80 Metascore
    • 80 Robert Abele
    This is the kind of show in which seeing new cast member Timothy Olyphant stare at Byrne from across a grief-support-group circle feels like both an act of violence and empathy, and this is before you even know who the hell he is. Since this is the secret-filled Damages, chances are we may never fully know. Would you want this knife’s-edge thriller any other way?
    • 75 Metascore
    • 80 Robert Abele
    You might think you’ve seen this story before, and yet you haven’t seen it quite this way.
    • 65 Metascore
    • 80 Robert Abele
    A tightly woven, watchable melodrama that connects an eclectic but friendly bunch of women through maybe the only thing they could possibly have in common: being married to the military.
    • 70 Metascore
    • 80 Robert Abele
    This kind of brittlely accurate performance is something to watch in the hands of an actress like Bening, who seems incapable --even during the film’s most blackly humorous moments -- of a false, Fatal Attraction–like note.
    • 79 Metascore
    • 80 Robert Abele
    What's unusually gripping about Five Days is that its tension isn’t derived from depicting the majority of its cast as shifty-eyed suspects, but rather as floundering, flawed human beings unsure of how to move on with their lives.
    • 65 Metascore
    • 80 Robert Abele
    The Sarah Silverman Program is a welcome outlet for Silverman’s brand of outlandishness, blessedly stingy with its desire to breach mores, and much more concerned with decorating its late-night comedy turf so that it can welcome any kind of unexpected laugh: shock, parody, irony, insult humor or absurdity.
    • 69 Metascore
    • 80 Robert Abele
    This is a meaty show about the complex allure of easy wealth and the traps it sets for one’s personal morality.
    • 48 Metascore
    • 80 Robert Abele
    It affects a frisky aura of gamesmanship with its tight-knit friends (played by Lucy Liu, Frances O'Connor, Miranda Otto and Bonnie Somerville) as they send their distress-text signals to each other, meet up, hash out their obstacles--cheaters, competitors, cads and the clock--and plan their counterattacks.
    • 59 Metascore
    • 80 Robert Abele
    Beyond its title, I have no quibble with this well-made, sly, heartwarming and at times giddily funny show.
    • 86 Metascore
    • 80 Robert Abele
    It's a whimsical, romantically inventive and darkly funny pop-up hour about a man (Lee Pace) whose touch can bring the dead back to life (but also, yikes, vice versa).
    • 67 Metascore
    • 80 Robert Abele
    The indignant heart of Canterbury's Law is that of a case-of-the-week procedural--a suitably suspenseful one at that--and within those institutional boundaries it's nice to see Margulies shake off the martyrish mien of Nurse Carol Hathaway on ER for somebody whose self-destructiveness gives her a nasty, intelligent severity at work.
    • 58 Metascore
    • 80 Robert Abele
    Although it manages to be suspenseful about the journey of its jumbled characters, it is an unrelenting examination of the search for the hidden recipe of me, you and us that makes for a strong marriage, and that's something you ultimately have to steel yourself for in a weekly series.