Baltimore Sun's Scores

For 192 reviews, this publication has graded:
  • 59% higher than the average critic
  • 3% same as the average critic
  • 38% lower than the average critic
On average, this publication grades 2 points higher than other critics. (0-100 point scale)
Average TV Show review score: 67
Highest review score: 100 Felicity: Season 1
Lowest review score: 0 Do Not Disturb: Season 1
Score distribution:
  1. Mixed: 0 out of 127
  2. Negative: 0 out of 127
127 tv reviews
  1. In its first season, I thought it was the best cop drama on television. Last year, I thought it was the best drama - period. What's left, the best series in American television? It almost goes without saying. [3 Mar 2001]
    • Baltimore Sun
  2. I love The Shield so much, I spent the two weeks since I saw it wondering if I could bring myself to actually say in print what I thought after screening the first three episodes: This is better than "Homicide: Life on the Street." If you've been reading The Sun for any length of time, you know I face East, bow my head and light incense in an act of worship at the mere mention of that late, great, ratings-challenged NBC drama. [12 Mar 2002, p.1E]
    • Baltimore Sun
  3. While there is no shortage of narrative theorists who talk about detective fiction as being most successful when it is like a puzzle, no one on network television has ever managed to create a series that could make viewers feel as if they were actually putting together a puzzle piece by piece as they watched. Perhaps the nearest anyone came was the writing team of Richard Levinson and William Link with their pilot for Peter Falk's Columbo, but Boomtown is light years beyond what Levinson and Link were doing in the 1970s. [28 Sept 2002, p.1D]
    • Baltimore Sun
  4. Dazzling...The West Wing is the one new series you do not want to miss. In fact, you don't even want to show up late for its start at 9 tonight. Walk the dog early, shut off the telephone at 8: 55, bribe the kids if necessary to get them in bed, just be there for the one new series that will remind you how exciting the fall network TV season used to be before the networks lost their way in bottom-line thinking and mega-corp greed. [22 Sept 1999, p.1E]
    • Baltimore Sun
  5. The power of the writing and performances are such that after just 30 minutes, you feel as if you know each of these characters intimately--and you find yourself already caring about them. And you wonder what role they will play in the troubled life and journey of Dr. Paul Weston.
  6. The final scene is a moment of pure TV story-telling mastery straight through to the sounding of "Tobacco Road." And you can feel the surge of energy it releases in Draper's psyche--and the series--practically radiating off the screen.
  7. Ed still believes in the realm of possibility, and perhaps even in magic. And that's part of what makes Ed Stevens such a welcome addition to the prime-time landscape. [7 Oct 2000, p.1E]
    • Baltimore Sun
  8. I'm not saying "Treme" is necessarily in a league with "The Sopranos," "The Civil War" or even "Homicide" at its best. But the pilot moved me as those productions did--and in the world of television, that is something special.
  9. I have now seen the pilot for Felicity four times. The first two times were just for enjoyment. The last two were reality checks to see if it is really as good as it seemed during the first two viewings. It is...Felicity is not just the best pilot. It is the one joy of the new network season. [29 Sept 1998, p.1E]
    • Baltimore Sun
  10. Mozart wrote finales for his operas by focusing on a theme sounded in the opening notes, then expanding and building upon it through repetition and the amplification of other voices for a glorious ending. So is David Chase, creator and executive producer of The Sopranos, writing the finale for this landmark TV series - and if this isn't art, then neither is Mozart.
  11. Freaks and Geeks will certainly capture the heart of anyone who came of age in the late '70s and early '80s (it's set in 1980) and should ring true for anyone whose high school memories have not been totally sublimated...One of the few shows this season that's left me waiting anxiously for week two. [25 Sept 1999, p.1E]
    • Baltimore Sun
  12. There is little precedence within television history for the rich portrayal of working class life as depicted by The Wire. [1 Jun 2003]
    • Baltimore Sun
  13. The smartest and funniest sitcom on television. [19 Jul 1995]
    • Baltimore Sun
  14. Case closed: 24 is the best drama on network TV.
  15. Alias is one of the most non-linear and illogical pilots I have ever seen. It's also one of the most exciting television rides I've had in years. I love its energy. The breathless, roller-coaster montage of movement, color, action and emotion never quits. [29 Sept 2001, p.1D]
    • Baltimore Sun
  16. This is television taking us on a journey into shared memory and the national past. This is television near the top of its game as the Great American Storyteller telling us who we were at one of our finest hours and, so, reminding us of what can be. [9 Sept 2001, p.2E]
    • Baltimore Sun
  17. So daring, richly multi-dimensional and culturally provocative that it's almost anti-television. [3 June 2001, p.2F]
    • Baltimore Sun
  18. It's better than ever. [David] Simon has always been good, but he seems to have truly matured this year as both a writer ... and executive producer. No one is making richer television drama than he is right now. [18 Sep 2004]
    • Baltimore Sun
    • 99 Metascore
    • 100 Critic Score
    By far the best new drama of the TV season...Murder One is profound, brilliant, mesmerizing and scary. [19 Sept 1995, p.1E]
    • Baltimore Sun
    • 55 Metascore
    • 90 Critic Score
    Surely one of the most delightful examples of televised family entertainment this holiday season.
  19. An engaging and illuminating look at the making of a Hollywood film and the business of manufacturing popular culture. [1 Dec 2001, p.1D]
    • Baltimore Sun
  20. One of the most pleasant surprises of the new season. [5 Oct 2000, p.1E]
    • Baltimore Sun
  21. John Adams, a $100 million-plus production about the life and times of America's second president, is one of the most compelling miniseries of the decade.
  22. The Comeback has its flaws. But this is a moment well beyond the depth of most television comedies. This is the stuff of which plays by David Mamet and Arthur Miller have been writ. This is a sitcom to which some attention should be paid. [4 June 2005, p.1D]
    • Baltimore Sun
  23. Offers a smart, sensitive and funny look at the first year of college life. [25 Sept 2001, p.3E]
    • Baltimore Sun
  24. if you are a fan of Braugher's work in "Homicide" and you crave quality drama, this is a pilot you do not want to miss. [10 Oct 2000, p.1F]
    • Baltimore Sun
  25. By far, the best sitcom of the new season. [11 Oct 2000, p.1E]
    • Baltimore Sun
  26. The humor is dark, and the editing is fast-paced and often non-linear. The visual sensibility heightens the surreal quality of life and death with young Dr. Dorian as he careens like a bumper-car through his shift. [2 Oct 2001, p.1E]
    • Baltimore Sun
  27. Despite all the artifice and unreasonable expectations it's selling, "The Real World" is one superb television series. [28 Jun 1995]
    • Baltimore Sun
  28. In the pilot, at least, Whedon manages to capture some of the same "Buffy" sensibility -- a rare combination of sexual energy, irony, intelligence, hot bodies, cool moves, action, menace and comic relief. The challenge is to sustain that tricky tone for a full season. [5 Oct 1999, p.1E]
    • Baltimore Sun
  29. I like the way this series cuts to the moral bone and ties so much of the evil men and women do to our culture's excessive materialism, commercialism and obsession with appearances. [22 July 2003, p.1E]
    • Baltimore Sun
  30. While the social work done by Life Support is exemplary, the production more than stands on its own as entertainment.
  31. Abrams brilliantly exploits several genres simultaneously - including reality TV with all that viewers have come to learn (or think they have come to learn) about group dynamics by watching CBS' Survivor the past four years. What's most impressive is the way that Abrams - through the skillful construction of character via credible dialogue and camera work that makes one feel almost situated within the group - makes Lost feel as if it is the real thing. [22 Sept 2004,p. 1E]
    • Baltimore Sun
  32. Nowhere in the media has the moral question of such [government-ordered] kills been explored with the texture and depth that Homeland brings to [just] one little scene Sunday.
  33. The writing is daring, the editing dazzling and bold... this is prime-time storytelling that pops.
  34. It's Sutherland's performance that so elevates the hour. This is a feature film star at work, and his performance demonstrates why the folks who fill the big screen make much more money than most television stars. [6 Nov 2001]
    • Baltimore Sun
  35. The best new sitcom of the fall...It's a very strong cast. [22 Sept 1994, p.1D]
    • Baltimore Sun
  36. Elizabeth I features two of the finest actors [Mirren and Irons] in film and television inspiring each other to some of the most spectacular work they have ever done.
  37. As hard as it might be to imagine after last year's dazzling debut, this period piece about life in a mid-sized Madison Avenue ad agency during the early 1960s returns tonight looking and feeling even stronger, smarter and more focused than it was.
  38. A well-crafted opening to a television drama is like an overture to a musical. To succeed, it must, however fleetingly, sound the major themes and melody of the piece, as well as suggesting its continuing sensibility. Tonight's opening is a great one. [2 June 2002, p.5E]
    • Baltimore Sun
  39. Part science-fiction, part teen soap opera, part Shakespearean love story, with a healthy dose of "The Fugitive" thrown in, Roswell has more than enough to make a believer out of me. It might not be as good as "The West Wing" or "Once and Again," but it is my favorite new series of the fall season. [6 Oct 1999, p.1E]
    • Baltimore Sun
  40. Rock deals with a harsher teen reality than Cosby did in his Fat Albert days, but he is hitting the same universal notes of conflict, love, weirdness and strength found in close-knit families.
  41. If all this sounds like the cutest thing you've ever heard, it just may be. And yet, somehow, Dharma and Greg pulls it off, thanks largely to the considerable charm of Elfman, a cross between Lisa Kudrow and Drew Barrymore. [24 Sept 1997, p.1E]
    • Baltimore Sun
  42. It's just plain good--fast-paced, emotionally engaging and even transporting at times. Much of the credit goes to Fishburne's performance, but there other important factors, like the way in which Stevens' script captures Marshall's liberating sense of humor, and the rich look of the overall production.
  43. Harsh Realm doesn't just resonate, it shakes, rattles and rocks the brain. [8 Oct 1999, p.1E]
    • Baltimore Sun
  44. I like this show a lot. [21 Sep 1998]
    • Baltimore Sun
  45. Tonight's episode does have a few moments when it goes over the comedy top and seems just a tad too broad. But who cares? Overall, it's a joy.
  46. One of the primary attractions of the drama looks to be the fantasy it offers of office mates becoming a community of friends who are continually dropping in on each other to offer companionship and support.
  47. Once again, the producers and writers are creating a show that speaks to and reflects its era more succinctly and dramatically than any other network series.
  48. Desperate Housewives' style and dark, comic tone owe much to such groundbreaking cable productions as HBO's Six Feet Under. And, while the writing is no match for that of Alan Ball... several fine performances by an outstanding ensemble cast make Desperate Housewives one of the more wickedly entertaining network pilots of the fall. [3 Oct 2004]
    • Baltimore Sun
  49. Just the right mix of camp, witchiness, special-effects and hand-to-hand combat.
  50. If you like Brit mysteries, this one set in the post-World War II era is easy to fall for.
  51. It is every bit as smart as you would expect something from Chase to be. It's built more on the limited-run model of British television than standard network fare. [9 Jan 1999, p.1E]
    • Baltimore Sun
  52. The deeper bow to the dictates of prime-time storytelling in this return to Hopkins by executive producer Terence Wrong and his ABC News documentary team isn't a bad thing. In fact, the choices made by Wrong and his digitally armed filmmaking troops result in a faster-paced, more engaging series.
  53. The recession is driving all the madness, and Fey's genius is in turning our economic fear and anxieties into such a comedy romp.
  54. There is genuine drama in Dollhouse--or, at least, all-engaging narratives of action-adventure.
  55. Braugher's performance as Atwater is intense, scary, seductive and astonishing in its range of emotions. It leaves little doubt that he is still among the best actors ever to grace the medium.
  56. Baruchel... plays Ross with a winningly earnest goofiness, while Johnson skillfully navigates the darkly comic territory of being over the hill and irritated by everything and everyone who reminds him of his glory days.
  57. The triumph of Parker's performance - just like that of James Gandolfini's depiction of Tony Soprano - is that she makes one care about Botwin in spite of all her flaws. [7 Aug 2005]
    • Baltimore Sun
  58. The most tautly written of all the new serialized dramas.
  59. Let me tell you how much I like TNT's new drama series, Men of a Certain Age. The cable channel sent me five hours worth of screeners, and I watched all five back-to-back Saturday--and would have watched another five hours of the series if they had sent them.
  60. Surprisingly wise and moving.
  61. Whatever the case, he and his show are easier to like. The hour flew by, and it seemed much looser, organic and easy-going than anything I saw last year by him on NBC.
  62. It's smart, richly textured, complex and filled with suspense and intellectual challenge--in short, it has all the things network television is supposed to have abandoned in favor of cheap reality shows.
  63. Just sit down in front of the TV and savor the spirited and daring performances of Jessica Lange and Drew Barrymore as Big and Little Edie.
  64. True Blood, Academy Award-winner Alan Ball's steamy, sassy, sometimes nasty, but always thoroughly engaging, new HBO drama.
  65. There is a near-perfect symmetry between the sensibility of Wright's book and the work of Simon and Burns.
  66. As improbable as the premise might sound, Bell's hard-edged performance makes it work. [22 Sept 2004,p. 1E]
    • Baltimore Sun
  67. But the paranormal is not what counts. It's the FBI agents who matter -- they're one of TV's most interesting twentysomething couples. [10 Sept 1993, p.1D]
    • Baltimore Sun
  68. This film was one of the most pleasant surprises I've had in a year of screening hundreds of TV productions. In fact, it made my weekend.
  69. But Joan of Arcadia has one other thing none of these had - a hard edge and a savvy sense of humor that keeps the drama from ever feeling saccharine or sappy. [26 Sept 2003, p.1E]
    • Baltimore Sun
  70. Funny, charming and smart.
  71. The acting is among the finest on television.
  72. As drama, tonight's pilot has its flaws, but it is, nevertheless, one of those electrifying TV productions that instead of simply seeking to divert or amuse, challenges viewers to imagine a reality other than the one they have been conditioned to accept.
  73. Its power radiates from the screen as forcefully as it does from the radio.
  74. It is a joy to see a first-rate, high-quality production featuring a genuine star. And this star is bringing his best game to an intelligent script that deals with challenging, knotty, complicated issues and characters that mirror the real world in which we live.
  75. Winfrey and ABC have taken the much-maligned reality TV format and used it to create a show that both entertains and encourages viewers to think about such matters as how best to help others.
  76. Hart's a real charmer, which bodes well. [27 Sept 1996, p.5D]
    • Baltimore Sun
  77. After screening three episodes, I am as hooked on this moody, hypnotic saga as I've been on any drama since The Sopranos. I'm not saying this is going to be the next Sopranos. It's too idiosyncratic and strange for that. [13 Sep 2003]
    • Baltimore Sun
  78. A network series potentially good enough to be on HBO.
  79. If you watched FNL on DirecTV when it debuted Oct. 1 and appreciated the sheer genius of the season, you might be ready to see the episodes again.
  80. One of the zaniest - and most savvy - workplace comedies in years.
  81. There is some room for debate as to whether it is the best or only the second best new drama of the season, but there is no doubt it is the most daring. [26 Oct 1996]
    • Baltimore Sun
  82. What a fine piece of work. [4 Mar 1997]
    • Baltimore Sun
  83. At its best--during several moments of exquisite longing between the adult Ned and Chuck--Pushing Daisies feels so right that it almost redeems all the wrongs of such wretched new series as Cavemen or Carpoolers.
  84. Tonight's two-hour movie pilot has major problems in trying to pull off the tricky business of combining drama and elements of high comedy within the fairly rigid conventions of the TV detective drama. But the writing by Andy Breckman (Rat Race) and the performance of veteran character actor Tony Shalhoub (The Man Who Wasn't There) combine to deliver one of the most weirdly appealing television sleuths since Richard Belzer's Detective John Munch of Homicide: Life on the Street. [12 July 2012, p.1E]
    • Baltimore Sun
    • 69 Metascore
    • 80 Critic Score
    I'll take Jeffrey Donovan as Michael Westen in USA's delightful new action comedy Burn Notice.
  85. Reading that vague description, you are certain there is nothing in the show to make you laugh. But if you watch, I guarantee you will at least smile in spite of your better impulses. I'm sorry, but this is some of David's best work.
  86. With all four [actors] bringing their "A" games to the pilot, it looks as if CBS could have another winning 10 o'clock drama.
  87. Here's a series that has a strong cast, great writing and what could prove to be an enlightened exploration of body and self image.
  88. This is social satire, and Grier's job is to make a mainstream audience see race and power in new ways. That often involves shock.
  89. Don't ask how or why, but it works
  90. Crews is complicated, moody and downright strange most of the time, but in the hands of a talented team of writers and producers, it results in a drama that is funny, edgy and multilayered.
  91. A comedy with lots of charm.
  92. The resonance of this drama with our lives today alone makes it worth a look.
  93. The Sheen persona wears thin after a while, and Jones is just another kid actor with a goofy-sweet face. But what could make this sitcom fly is Cryer. He injects Alan with a manic energy that literally lifts the pilot into a higher comic gear each time he begins to catalog or rant about all his anxieties and fears. [22 Sept 2003, p.1C]
    • Baltimore Sun
  94. It's romantic, sentimental, sometimes stereotyped and, in the end, a great showcase for the considerable talents of Martin. [2 Apr 1994]
    • Baltimore Sun
  95. There is nothing as original in Side Order of Life as the metaphysical puppet, but there is enough promise to return for a second week - to see whether Jenny is wise enough to learn from the pain.
  96. The banter between Perry and Whitfield... is dazzling enough to make one forget the pilot's storytelling sins.
  97. Viewers who can get past the uncertain dialects and a few cartoonish supporting characters are in for a real treat.

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