For 100 reviews, this critic has graded:
  • 65% higher than the average critic
  • 2% same as the average critic
  • 33% lower than the average critic
On average, this critic grades 1.7 points higher than other critics. (0-100 point scale)

Robert Rorke's Scores

Average review score: 69
Highest review score: 100 Olive Kitteridge
Lowest review score: 25 Disjointed: Season 1
Score distribution:
  1. Positive: 81 out of 100
  2. Negative: 4 out of 100
100 tv reviews
    • 57 Metascore
    • 63 Robert Rorke
    The Red Tent would have benefited from more subtlety--hardly Lifetime’s stock-in-trade. Still, it is a major step up from the network’s usual fare of films.
    • 75 Metascore
    • 63 Robert Rorke
    Having established the exaggerated and predictable weirdness of all white people, Fresh Off the Boat seems to have run through its one topic--and one joke.
    • 48 Metascore
    • 63 Robert Rorke
    The Royals wants to shock but can’t, since the world it describes is something we know all too well from tabloid headlines about the real British royals. These characters are bored by their own jaded lives--and so are we.
    • 71 Metascore
    • 63 Robert Rorke
    Designated Survivor does a decent job of mapping the confusion felt by Kirkman, his wife and various White House stock figures, but with “Madam Secretary” playing in the same faux political sandbox, the show feels a little too familiar.
    • 53 Metascore
    • 63 Robert Rorke
    It’s more fun to watch the D-list celebs make cameo appearances than actually listen to the movie.
    • 58 Metascore
    • 63 Robert Rorke
    The scenes between Liotta and Lopez provide a two-fold tension, as you can see Harlee become unhinged and Lopez quiver in the company of a more talented performer.
    • 52 Metascore
    • 63 Robert Rorke
    Texas Rising doesn’t have the urgency of “Hatfields vs. McCoys,” but Texas enthusiasts will enjoy the blow-by-blow reenactments of a crucial period in American history.
    • 64 Metascore
    • 63 Robert Rorke
    With his ever-present smile, he projects a genial, almost mild camera presence but lacks anything resembling the kind of edge that made Jon Stewart a name to be reckoned with. He has a hard road ahead of him.
    • 38 Metascore
    • 63 Robert Rorke
    If the writers can stop laying it on so thick, maybe Walsh will find her way into the role and Bad Judge will have a better shot at entertaining and shocking us.
    • 56 Metascore
    • 63 Robert Rorke
    When C.C. and Whitney predictably fight over the same man, your eyes may roll. And that’s a good reflex. While you may not mind revisiting “Beaches,” you may not feel the same emotions washing over you--because you already know the story.
    • 74 Metascore
    • 63 Robert Rorke
    Ed Harris, picking up where Yul Brynner left off in the film, cuts a menacing figure as the Man in Black, a killing machine determined to find a maze that may lead him out of the park. In between these golden nuggets are meandering scenes that take a long time to acclimate park visitors (Jimmi Simpson, Ben Barnes) to the repertoire of narratives on display.
    • 62 Metascore
    • 63 Robert Rorke
    Fans of this genre of horror storytelling will probably hang in there, unless things get too ridiculous.
    • 59 Metascore
    • 63 Robert Rorke
    Maybe Legends will get better, but if TNT expects Bean to carry this show, they’re going to have to give him better villains and better back-up support.
    • 46 Metascore
    • 63 Robert Rorke
    With only one episode available for review, it’s impossible to determine if Rush Hour is hampered by its need to set up contrasts between the lawmen and solve a crime. Maybe things get better.
    • 46 Metascore
    • 63 Robert Rorke
    While the target audience will probably dig the extensive action sequences and vivid violence, there’s no reason anyone else should be “Taken” for a ride.
    • 60 Metascore
    • 63 Robert Rorke
    Divorce casts Parker in an unsympathetic role. It’s not Parker’s comfort zone.
    • 61 Metascore
    • 63 Robert Rorke
    If True Detective is going to be more than a vehicle for eclipsed stars trying to reignite their careers, Pizzolatto & Co. will have to dig deeper for a story that entertains--and impresses us as definitively as its predecessor.
    • 68 Metascore
    • 63 Robert Rorke
    How to Get Away with Murder is no “Good Wife” in the sophistication (or writing) departments, and when key turning points in the case involve witnesses who are color blind, you just want to Skype with Jessica Fletcher from “Murder, She Wrote” to wrap this one up.
    • 50 Metascore
    • 63 Robert Rorke
    Like a lot of junk food, Sharknado might taste good while you’re eating it--but even with Cheetos you have to know when to take your hand out of the bowl.
    • 57 Metascore
    • 63 Robert Rorke
    Without a great authoritative figure to lift the entire piece to a mythic level, The Son may have been better off in book form--where readers can imagine the Texas described in its pages.
    • 54 Metascore
    • 63 Robert Rorke
    The Middle East of Gordon’s Tyrant is as explosive as on “24” and “Homeland,” but he’s much better at letting the special effects guys manufacture the blasts than he is at creating those moments with his characters.
    • 74 Metascore
    • 60 Robert Rorke
    The stories will likely prove too confusing to viewers who have never seen the series and don’t have the time to play catch-up. Much of the two episodes were slow-going and the Buckhorn scenes, while striving for the quirky humor Noah Hawley has perfected on FX’s “Fargo,” weren’t weird enough.
    • 52 Metascore
    • 50 Robert Rorke
    A familiar, by-the-numbers procedural, where grave medical conditions bring out the best in people--and the emergency room pandemonium rolls off everyone’s back. It’s the anti-“Grey’s Anatomy” doctor show.
    • 60 Metascore
    • 50 Robert Rorke
    The story--while it may have been fun to read on paper--is slight and even puzzling on screen.
    • 50 Metascore
    • 50 Robert Rorke
    While the filmmakers behind the Parton Christmas franchise (among them veteran daytime soap writer Pamela K. Long) have sprinkled some genuine moments in the story and made a great hire in casting Nettles as the tenacious Parton matriarch, they have inadvertently made their subject, the charismatic singer herself, into someone whose life you’d rather not hear about anymore.
    • 58 Metascore
    • 50 Robert Rorke
    Grace and Frankie strains very hard for laughter of any sort.
    • 65 Metascore
    • 50 Robert Rorke
    These two criminals are supposed to have chemistry so we need another scene to set that up. Good Behavior, based on a series of novels by Blake Crouch (“Wayward Pines”), has some very awkward moments like these. The series also saddles Letty with way too much baggage, requisite for any “flawed” TV character.
    • 42 Metascore
    • 50 Robert Rorke
    This latest production is not completely terrible; it just underscores the sad state of affairs on network television, where programmers are seriously hurting for a fresh idea.
    • 64 Metascore
    • 50 Robert Rorke
    The opening and closing remarks provided by Fellowes for each episode betray more wit than he was able to evince in the scripts.
    • 39 Metascore
    • 50 Robert Rorke
    Besides its lackluster execution, the film has a certain cobwebby quality.

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