For 681 reviews, this critic has graded:
  • 66% higher than the average critic
  • 7% same as the average critic
  • 27% lower than the average critic
On average, this critic grades 3.6 points higher than other critics. (0-100 point scale)

Tom Gliatto's Scores

Average review score: 68
Highest review score: 100 Mad Men: Season 4
Lowest review score: 25 Harry's Law: Season 1
Score distribution:
  1. Negative: 93 out of 681
681 tv reviews
    • 62 Metascore
    • 88 Tom Gliatto
    It's funny and moves blindingly fast, barely giving you time to blink or gulp--Dark Shadows for the PlayStation age. [10 Oct 2011, p.39]
    • People Weekly
    • 74 Metascore
    • 88 Tom Gliatto
    It might be unwatchable if Dern, who's excellent, didn't allow Amy's laughable obtuseness to be pierced by glimmers of empathy and acceptance. [ 17 Oct 2011, p.40]
    • People Weekly
    • 63 Metascore
    • 88 Tom Gliatto
    This drive for revenge is what makes the pilot spark, smoke and go chug-a-chug-chug. [14 Nov 2011, p.45]
    • People Weekly
    • 75 Metascore
    • 88 Tom Gliatto
    Luck is a true original, a show with a tone like no other. [30 Jan 2012, p.43]
    • People Weekly
    • 62 Metascore
    • 88 Tom Gliatto
    The show has the makings of great--what else can I say?--escapist entertainment. [23 Jan 2012, p.39]
    • People Weekly
    • 81 Metascore
    • 88 Tom Gliatto
    Given the amounts of sumptuous scenery to chew on, the acting is restrained, even if the gore and sex are not. [28 May 2012, p.40]
    • People Weekly
    • 81 Metascore
    • 88 Tom Gliatto
    This BBC hit is the soppily tender story of '50s midwives in London's East End. [1 Oct 2012, p.38]
    • People Weekly
    • 74 Metascore
    • 88 Tom Gliatto
    Comparisons to The Iron Lady, a sloppy movie that has Meryl Streep in roaring good form, are inevitable. Is Game Change better? You betcha. [5 Mar 2012, p.41]
    • People Weekly
    • 72 Metascore
    • 88 Tom Gliatto
    The comedy here, as with Elaine, comes from watching Louis-Dreyfus's sophisticated, furiously sharp timing applied to a character who has the intelligence of a finch. [30 Apr 2012, p.35]
    • People Weekly
    • 68 Metascore
    • 88 Tom Gliatto
    The pace sags, but the accumulation of sacrificed lives gives it all a haunting sorrow. [4 Jun 2012, p.44]
    • People Weekly
    • 73 Metascore
    • 88 Tom Gliatto
    [A] highly satisfying update. [8 Oct 2012, p.57]
    • People Weekly
    • 68 Metascore
    • 88 Tom Gliatto
    One of the fall's best new dramas. [26 Nov 2012, p.48]
    • People Weekly
    • 63 Metascore
    • 88 Tom Gliatto
    It's both old and new, a comfy piece of nostalgia that doubles as a fresh guilty pleasure. [18 Jun 2012, p.39]
    • People Weekly
    • 65 Metascore
    • 88 Tom Gliatto
    The show's tone [is] vulgar, jolly and winning. [16 Jul 2012, p.39]
    • People Weekly
    • 79 Metascore
    • 88 Tom Gliatto
    The first episodes are very promising, full of feints, fibs, and a big, fat shock. [16 Jul 2012, p.40]
    • People Weekly
    • 56 Metascore
    • 88 Tom Gliatto
    It's just suspenseful and clever enough to keep you happily intrigued. [3 Sep 2012, p.39]
    • People Weekly
    • 67 Metascore
    • 88 Tom Gliatto
    Johnson is the find of the season: She's the sunbeam that doesn't filter out dust motes. [29 Oct 2012, p.38]
    • People Weekly
    • 73 Metascore
    • 88 Tom Gliatto
    The CW's best show since Gossip Girl.... it has a forthright narrative seriousness, a respect for the gobbledy-gook that makes up any superhero's backstory--and a game cast performing with the correct degree of seriousness. [19 Nov 2012, p.35]
    • People Weekly
    • 82 Metascore
    • 88 Tom Gliatto
    The Walking Dead has managed to work fresh morsels into television's grimmest stew. [22 Oct 2012, p.41]
    • People Weekly
    • 75 Metascore
    • 88 Tom Gliatto
    Louis-Dreyfus's performance--which, like Congress, can be divided into two houses, Crackling Charm and Hysterical Ego--still drives the show, but we're getting more realistic sense of political gamesmanship. [22 Apr 2013, p.45]
    • People Weekly
    • 88 Metascore
    • 88 Tom Gliatto
    Matthew Weiner has advanced the show far enough into the '60s that its fundamental philosophical question begins to generate its own oppressive suspense. [15 Apr 2013]
    • People Weekly
    • 69 Metascore
    • 88 Tom Gliatto
    What hasn't changed and what matters, is Mireille Enos's sodden, unshakable integrity as a detective who could outlast a pack of bloodhounds. [10 Jun 2013, p.48]
    • People Weekly
    • 71 Metascore
    • 88 Tom Gliatto
    This could all pay off spectacularly. [8 Jul 2013, p.36]
    • People Weekly
    • 74 Metascore
    • 88 Tom Gliatto
    It is still a distinctly Guest production: often poky, always charmingly whimsical and, from time to time, so astoundingly funny you seem to have shot into a distant stratosphere of pure comedy. [13 May 2013, p.45]
    • People Weekly
    • 77 Metascore
    • 88 Tom Gliatto
    An intricate mystery confidently spun out with dark, unsettling shocks. [15 Jul 2013]
    • People Weekly
    • 77 Metascore
    • 88 Tom Gliatto
    Watching Nucky's frenemies thrive like poison toadstools ringing a tree--that's a grim, gripping spectacle in its own right. [9 Sep 2013, p.42]
    • People Weekly
    • 71 Metascore
    • 88 Tom Gliatto
    Despite its cheap shock effects, the show is indulgently ridiculous. [[28 Oct 2013, p.41]
    • People Weekly
    • 62 Metascore
    • 88 Tom Gliatto
    This late entry in the fall season is one of the best. [25 Nov 2013, p.43]
    • People Weekly
    • 80 Metascore
    • 88 Tom Gliatto
    The show fades away like a Mari Gras parade drifting out of range. But it's a potent memory. [16 Dec 2013]
    • People Weekly
    • 76 Metascore
    • 88 Tom Gliatto
    After an awful season 2, Lena Dunham's Brooklynocentric comedy celebrating coffee, ambition and sex is fixed. [20 Jan 2014, p.41]

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