For 683 reviews, this critic has graded:
  • 58% higher than the average critic
  • 4% same as the average critic
  • 38% lower than the average critic
On average, this critic grades 2.1 points lower than other critics. (0-100 point scale)

Robert Bianco's Scores

  • TV
Average review score: 63
Highest review score: 100 Rescue Me: Season 4
Lowest review score: 0 Lucky Louie: Season 1
Score distribution:
683 tv reviews
    • 52 Metascore
    • 75 Robert Bianco
    When The Goldbergs sticks to its loud, abrasive but loving family, it's fine. It's when it switches its focus to the '80s, complete with a voice-over designed to point out every difference between that decade and our own, that it gets into trouble.
    • 64 Metascore
    • 75 Robert Bianco
    Even amid the excess exposition, you'll be able to spot a few enjoyable jolts, some clever, throwaway culture-shock moments and the charms of the show's two stars. Combined, they give the show more than enough room to grow into an entertaining weekly adventure.
    • 72 Metascore
    • 75 Robert Bianco
    You may not completely love this fourth vacation away from the 21st century, but lingering affection should more than carry you through.
    • 63 Metascore
    • 75 Robert Bianco
    It gets better, digs deeper and reaches farther than anyone might have predicted.
    • 54 Metascore
    • 75 Robert Bianco
    It understands that its first job is to make us believe in Bonnie and Clyde and commit to their story. And that it does, perhaps not brilliantly, but well.
    • 63 Metascore
    • 75 Robert Bianco
    The main characters are well-drawn and well-played, particularly by Mulroney, Taylor, Gross and (as you'd expect) Anderson, and the structure already seems reliably sturdy.
    • 65 Metascore
    • 75 Robert Bianco
    Among the innumerable improvements here that lift Jack over Dad, start with turning the paternal lead over to Christopher Meloni--an actor who can convey warmth, brains and masculine menace with a glance--and giving him an actual person to play, rather than an insult-spouting cartoon. Then throw in making his wife a regular character, casting Rachael Harris and moving the story back in time, so that the son is now a more empathetic teenager, rather than an adult moving back home.
    • 61 Metascore
    • 70 Robert Bianco
    You get a lot of jokes per minute from Meyers, and on Monday at least, most of them worked.... Time of course will tell, but Late Night once again seems to be in good hands.
    • 74 Metascore
    • 70 Robert Bianco
    There isn't much new in this northern Western, but the scenery is lovely, the acting is solid, and the mix of characters is just what you'd expect from the genre.
    • 65 Metascore
    • 70 Robert Bianco
    While gratitude and humility are admirable traits, there were times in Monday's opening moments when Fallon risked taking them to uncomfortable extremes.... Luckily, he rescued the moment with one of the show's better bits. A seemingly offhand remark about an unnamed star owing him money for betting him he'd never get the Tonight Show job led to a surprise-guest parade.
    • 58 Metascore
    • 63 Robert Bianco
    The camerawork is startling, but it can't hide a plot that is dreary and unbelievable. [6 Oct 2000, p.10E]
    • 54 Metascore
    • 63 Robert Bianco
    Both leads are very good, particularly Bibb, who makes what could have been a superficial character touching without making her cheaply sympathetic. The real standout, however, is Rue, who is luminous as a weight-challenged girl who longs to hear cheers. [29 Sept 1999, p.3D]
    • 54 Metascore
    • 63 Robert Bianco
    Seldom has a fatally flawed concept been better executed than on Law & Order: Criminal Intent.
    • 80 Metascore
    • 63 Robert Bianco
    Perhaps this is the way people really spoke in 1876 Deadwood, but TV isn't a research paper, and shows don't run with footnotes and annotations. Many viewers are likely to feel that Milch and the actors have failed to make the expletive-laden dialogue play as believable. Equally many are likely to find it off-putting, whether they believe it or not. It's just one more barrier for a genre that already has a problem connecting with a modern audience...That hurdle might have been overcome had the actors been able to pull us past the words and into the story, but Milch has not cast the show as well as he needed. With the exception of the always welcome Keith Carradine, whose dissipated Wild Bill Hickok is the series' most appealing character, the actors are not up to the tasks assigned.
    • 63 Metascore
    • 63 Robert Bianco
    The L Word wants to be as liberating for gay women as Sex and the City was for their straight sisters. Instead, it comes across as a repetitive soap opera that reduces life to sex, and sex to a Joey Tribiani fantasy about girl-on-girl make-out sessions.
    • 62 Metascore
    • 63 Robert Bianco
    There's a great TV show out there called The Office...This just isn't it...Instead, what NBC is offering tonight is a passable imitation of a miles-better British original -- a brilliant faux-documentary starring Ricky Gervais that has attracted a small but devoted fan base from its BBC America run.
    • 68 Metascore
    • 63 Robert Bianco
    With each episode, the show seems to move further from real life and the real Rome and off into some sex-crazed, soap-opera fantasy version of a place that has never, thankfully, existed before or since.
    • 62 Metascore
    • 63 Robert Bianco
    While hardly an exceptional series, Grey is a competent one. Still, if it hopes to run, it will need to make adjustments such as dumping Christina's already tired habit of seeing patients merely as her ticket to exotic procedures.
    • 51 Metascore
    • 63 Robert Bianco
    A comedy-laced caper requires a light, sure touch. Heist tends to plod.
    • 32 Metascore
    • 63 Robert Bianco
    Collectively, Inconceivable seems a bit desperate and confused.
    • 31 Metascore
    • 63 Robert Bianco
    Ever since Sex and the City proved you could update Designing Women for a shallower audience by amping up the sex and removing the social content, TV writers have been trying without success to replicate the trick. Though Hot Properties feels too forced and a bit old-hat, it comes closer than most, thanks to a strong cast and a few genuinely funny lines.
    • 65 Metascore
    • 63 Robert Bianco
    Colbert was an invaluable part of the Daily Show, but as the whole show, he's not enough and too much simultaneously.
    • 51 Metascore
    • 63 Robert Bianco
    Whatever one thinks of the format, the briskly paced setup is effectively done.
    • 53 Metascore
    • 63 Robert Bianco
    It's one of those midlevel, decently entertaining dramas you're most inclined to watch when nothing else in the time slot excites you.
    • 52 Metascore
    • 63 Robert Bianco
    Too confused for a documentary, insufficiently dramatized for a movie, Path simply doesn't have the skill needed to support its intentions.
    • 67 Metascore
    • 63 Robert Bianco
    Taylor, whose performance overflows with touchingly wounded dignity. She also gets to deliver a great speech to two of her patients, which, while totally unrealistic, is fun in an overly theatrical kind of way.
    • 51 Metascore
    • 63 Robert Bianco
    It would be nice if the exposition were less clunky and the show did more to capture what is special about its San Francisco setting. Still, the actors are enjoyable, and their series in large part does what it sets out to do.
    • 66 Metascore
    • 63 Robert Bianco
    Yet as often happens, tonight's premiere is far less than the sum of its parts. The tone shifts precariously from scene to scene, and Krause is too dull a presence here to tie the tones together. He has to serve as our entrant into this strange world, and in the pilot, he just seems disinterested.
    • 49 Metascore
    • 63 Robert Bianco
    The show itself, sad to say, is not done well enough to work. But it's not dull, and it's worth watching if only to try to figure out what CBS could have been thinking--beyond, "No one's going to confuse this with NCIS."
    • 38 Metascore
    • 63 Robert Bianco
    Moonlight. It's basically "Angel" without the search-for-a-soul underpinnings that gave Angel depth, and with a more ponderous script and less adept cast.