For 15 reviews, this critic has graded:
  • 33% higher than the average critic
  • 6% same as the average critic
  • 61% lower than the average critic
On average, this critic grades 6.6 points lower than other critics. (0-100 point scale)

Terry Jackson's Scores

  • TV
Average review score: 58
Highest review score: 90 The Sopranos: Season 2
Lowest review score: 20 The District: Season 1
Score distribution:
  1. Positive: 7 out of 15
  2. Negative: 3 out of 15
15 tv reviews
    • 87 Metascore
    • 90 Terry Jackson
    A few shows just sneak up on you. They start quiet, seem too simple, and then, when the credits roll after an hour, you find yourself smiling, wondering what happens next in this quirky world TV has created. That's what happens with Ed. [7 Oct 2000, p.5E]
    • 97 Metascore
    • 90 Terry Jackson
    As outstanding as The Sopranos has been, and as terrific as it could be in the long run, it will never have the reach or pop-culture impact of Seinfeld or ER, much less M*A*S*H or even Saturday Night Live - all true TV icons of the last quarter century. [22 Jan 2000]
    • 77 Metascore
    • 80 Terry Jackson
    As science fiction, Roswell is passable entertainment, sort of a less-dark X-Files. It rises above that, however, through the relationship of Liz and Max. Appleby and Behr make their characters crackle with magnetic attraction. [6 Oct 1999, p.1E]
    • 62 Metascore
    • 80 Terry Jackson
    It is at once insanely juvenile and very sophisticated, appealing to a funny bone that, as an adult, I try to hide. I feel guilty about laughing, but I laugh anyway. [13 Aug 1997]
    • 73 Metascore
    • 75 Terry Jackson
    In the premiere episode, there are times when it is difficult to believe Ally is a top-notch lawyer, given her tentative, almost little-girl nature. Then there are scenes like her frank and catty discussion with Billy's wife... that are great fun to watch. [8 Sep 1997]
    • 81 Metascore
    • 75 Terry Jackson
    Elfman's wacky persona injects new life into the tired sitcom premise of opposites attract. [24 Sept 1997, p.4D]
    • 69 Metascore
    • 63 Terry Jackson
    It's a very enjoyable hour and it's easy to get caught up in the action and the scenery and forget what we all know from the movie and the first series. But it's a tossup whether the manhunt will bring us back week after week. This time around, Kimble's chase could be much shorter. [6 Oct 2000, p.1E]
    • 58 Metascore
    • 50 Terry Jackson
    By focusing on the science used by crime-scene investigators, C.S.I. puts a creative spin on the traditional cop-show genre. [6 Oct 2000, p.1E]
    • 75 Metascore
    • 50 Terry Jackson
    In an effort to avoid a controversy similar to what befell Ellen last season, this show has taken a safe route that kills some of its comedy potential. [21 Sep 1998]
    • 54 Metascore
    • 50 Terry Jackson
    The characters are drawn overly broad, situations are grindingly forced, and efforts at social commentary and smart parody are Cliff Notes of real life. [29 Sept 1999, p.1E]
    • 55 Metascore
    • 50 Terry Jackson
    It's a premise that has been tried many times, but snagging big-screen heartthrob Byrne gives it some cachet. [6 Oct 2000, p.1E]
    • 43 Metascore
    • 50 Terry Jackson
    There are some scary moments in the first episode, which is appropriately dark and foreboding. But you can't escape the feeling this is just another X-Files clone. [6 Oct 2000, p.1E]
    • 68 Metascore
    • 30 Terry Jackson
    Try as Midler might - and she does try, doing a few physical comedy bits that would make Lucille Ball proud - even she can't overcome the reality that Bette is an idea that never developed beyond the star's reputation. [11 Oct 2000, p.1E]
    • 25 Metascore
    • 25 Terry Jackson
    Despite a decent cast that includes Jon Cryer and Paget Brewster, all the demented characters are too much to take. The trouble with The Trouble With Normal is that it needs some normalcy. [6 Oct 2000, p.1E]
    • 54 Metascore
    • 20 Terry Jackson
    It's irresponsible for a show like The District, which had the opportunity to be racially diverse in not only its casting but its portrayals, to fall back on racial stereotypes. [7 Oct 2000, p.1E]