Baltimore Sun's Scores

For 189 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 1.9 points higher than other critics. (0-100 point scale)
Average TV Show review score: 67
Highest review score: 100 Six Feet Under: Season 1
Lowest review score: 0 Do Not Disturb: Season 1
Score distribution:
  1. Mixed: 0 out of 125
  2. Negative: 0 out of 125
125 tv reviews
  1. This is the bottom line: If you give this series three hours, you'll start caring about these characters, and that's no small accomplishment by the writers...But, during that time, the series more often feels like a network soap opera than it does a serious, groundbreaking drama. [2 Dec 2000, p.1E]
    • Baltimore Sun
    • 62 Metascore
    • 70 Critic Score
    Those unschooled in the ways of Washington may have trouble following some of the political machinations and plot nuance, but there's no mistaking passion when you see it.
    • 59 Metascore
    • 70 Critic Score
    The clever conceit is mostly successful in the series' opening episodes. But having it both ways has its costs, making Samantha smart and serendipitous, but never truly great.
  2. As entertainment, the pilot is a most impressive work of economic and focused storytelling.
  3. Despite being so derivative, it is brimming with promise. [21 Mar 1995]
    • Baltimore Sun
  4. Without a Trace is an engaging and resonant adult drama, which means it is just the kind of series that should rate a rave, except for one thing. There is a decided drop in quality between the pilot and episode two. [26 Sep 2002]
    • Baltimore Sun
  5. I have no major complaint with this Fugitive as an act of filmmaking imitation. I just wish they had tried to emulate the spirit of the original and re-imagine this "Fugitive" in a way that made it connect as vitally with America today as the original connected with America in 1963. [6 Oct 2000, p.1E]
    • Baltimore Sun
  6. "Soul Food" has its share of soap-opera moments and predictable story threads. ... But the moments in "Soul Food" that bode best for the series' future are the ones that don't try so hard, that show the Josephs struggling to remain a family despite the forces pulling them apart. It's moments like those that give their story strength and should keep viewers anxious to find out what happens next. [28 Jun 2000]
    • Baltimore Sun
  7. It has genuinely funny moments... [but] the biggest problem with "Curb Your Enthusiasm" is the unevenness of the improvisation. [13 Oct 2000]
    • Baltimore Sun
  8. While the police story line has never been stronger, the first seven episodes made available for preview contain nothing that matches the emotional power and sociological insight of the show at its best--namely the classroom scenes from Season 4.
  9. All in all, it's a pleassant enough series. Just don't think too hard about it, or it will deconstruct into psycho-goofiness before you get out the door of the Talmadge Institute and onto the first case.
  10. [It has] a tick-tick-tick pace almost as intense as that of 24.
  11. An example of television getting it right. The themes -- teen angst, coming-of-age, puberty, loneliness, intimacy, connection and lack of connection to parents -- are skillfully woven into an engaging story line that reinterprets the 63-year-old mythology of Superman for a new generation...There is a major downside to Smallville -- the acting is pretty bad. [16 Oct 2001, p.1E]
    • Baltimore Sun
  12. While the action genre and, indeed, Friday nights on Fox, are most targeted at young men, particularly adolescent males, I have to admit I kind of like Firefly. I'm not sure, though, whether that says more about my level of maturity than it does the series' potential appeal to older viewers. [20 Sept 2002, p.1E]
    • Baltimore Sun
  13. Those viewers who can come to terms with Joey's voice will find themselves richly rewarded by the powerful performances of Tucker as Tommy Donnelly and Olivia Wilde as Jenny Reilly.
  14. This is a series with tremendous potential. The first hour of "Wonderland" is nothing if not intense, but next week's episode packs less punch. [29 Mar 2000]
    • Baltimore Sun
  15. It is not the greatest half-hour pilot I've ever seen, but it is mighty impressive in how much storytelling it compresses and how many cultural buttons it manages to push in 22 minutes. [26 Mar 1999]
    • Baltimore Sun
  16. "Ally McBeal" is not going to be everyone's cup of tea, but it is bona fide quality TV. [8 Sep 1997]
    • Baltimore Sun
  17. I am not yet ready to say The Middle is a great sitcom, but it sure seems in synch with the mood of middle America today.
  18. Think The Fugitive meets Beverly Hills 90210 done dark and brooding.
  19. If you like that kind of Elmore-Leonard-wannabe dialogue, you'll probably like McBride a lot. [31 Jan 1995]
    • Baltimore Sun
  20. Stiller may not be enough to save this pack of wrongheaded cliches, but it will be fun watching him try. [21 Sept 1998, p.1E]
    • Baltimore Sun
  21. Mackey is right where I left him years ago: again facing a disciplinary hearing that might mean the end of his career. As The Shield starts its seventh and final season, maybe it is time to say goodbye.
  22. While it doesn't work for me, I'll bet many of the WB's teen viewers who have just finished watching "Dawson's Creek" are going to love it. The girls will feel empowered; the boys, who have been lusting after the three, will be entertained by the violence and havoc they can generate. [7 Oct 1998, p.1E]
    • Baltimore Sun
  23. His team is formulaic - and that's not a good thing. Omar Epps plays neurologist Dr. Eric Foreman. He's African-American, and even though he had great medical school grades, House says he was chosen for his "street smarts." Jennifer Morrison is immunologist Dr. Allison Cameron, and, while she is beautiful and brainy, in the second episode, she acknowledges some sexual issues. Jesse Spencer, as intensive-care specialist Dr. Robert Chase, is from the WASP world of old money, but nothing he says or does in the first two episodes offers any social-class insights. [16 Nov 2004, p.1C]
    • Baltimore Sun
  24. Karen Sisco isn't a great drama. For one thing, much of the dialogue is too tough-guy wooden to believe. [1 Oct 2003, p.1E]
    • Baltimore Sun
  25. So it's up to LaPaglia to assume the mantle of leadership. And talented as he is, he's no Benzali. [10 Oct 1996, p.3C]
    • Baltimore Sun
  26. That's Life has a good message and great cast. But if it wants to last, it's going to have to lose the professor, settle on a single voice, and do it fast. [30 Sept 2000, p.1E]
    • Baltimore Sun
  27. While Traffic: The Miniseries is definitely not in a league with its predecessors, there are still a number of things to like. [26 Jan 2004]
    • Baltimore Sun
  28. My Name Is Earl is not a stupid sitcom - that is what makes its sexist and homophobic jokes so maddening.
  29. Old Christine is more fun than Watching Ellie. The question that remains is whether it will be funny enough for viewers to finally leave Elaine behind.
  30. If one is looking for a TV drama that earnestly tries to reflect and speak to our lives and times, it would be hard to do better than Sleeper Cell.
  31. Too many characters quip too wise, but San Giacomo has a nice way with a line, David Spade plays a good unctuous photographer and Segal is his normal exasperating self. [4 Mar 1997]
    • Baltimore Sun
  32. Spin City is television as culture, and I am not sure whether a show like this merely plugs into the cynicism already in place in our country or creates more and more of it by making it seem like the hip, in-the-know way to be.[17 Sept 1996, p.]
    • Baltimore Sun
  33. Slight but likable. [7 Oct 2000, p.1E]
    • Baltimore Sun
  34. Instead of life-affirming laughter, we get an occasional ironic chuckle in NBC's version of The Office. It's a comedy that offers only escape instead of insight into our workaday lives. [24 Mar 2005, p.1E]
    • Baltimore Sun
  35. As the lead, Simon Baker is too one-note smirky for me.
  36. That is profound stuff--if only the series did a better job of capturing it. The idea that all he has to sell is himself is an interesting one intellectually, but it doesn't play very well onscreen.
  37. The problem with the pilot is in tone. Self-important and silly but optimistic and sweet is a hard mark to hit week after week.
  38. Frontloaded to high heaven or not, it was still a solid premiere. Now, that bad news: None of the standard building blocks of the show seemed that impressive on their own--so that when you tried to imagine the show without an overload of starpower and star-drama, it didn't seem that exciting.
  39. Cute, but frothy, and not nearly as charming as it thinks it is (or as the movie was). Rachel Blanchard tries as Cher, but she's no Alicia Silverstone...This one could grow on you, but I doubt it. [20 Sept 1996, p.8E]
    • Baltimore Sun
  40. Not surprisingly, Crash, the TV series, does not measure up very well against the film in terms of atmosphere and acting.
  41. Borderline over-the-top moments threaten the sense of verisimilitude usually expected in prime-time drama.
  42. There are just too many problems with the lead character and writing for this to ever become a PBS staple like "Inspector Morse" or "Miss Marple" had been.
  43. Conan O'Brien's first Tonight Show was a good one--if you like canned video clips rather than topical humor. Otherwise, there wasn't much to get excited about.
  44. The first covering the initial 30 minutes was the one to pay attention to. It had no guests and featured Leno and his staff --and it was lame, tame and tepid. The second was all guests--and it had energy if nothing else.
  45. It's not as smart about race as "In Living Color," and it lacks the political edge of " Saturday Night Live" at its best. But Hype might have the stuff to make it in prime time on WB. [7 Oct 2000, p.1E]
    • Baltimore Sun
  46. Impressive photography and a good-looking cast add up to a drama that is at least pretty to look at. But it doesn't have quite the sizzle of Fox's new teen drama "The O.C.", the new series young viewers seem to be in love with this fall...Maybe, if you're 14, this is epic enough. [23 Sept 2003, p.1E]
    • Baltimore Sun
  47. Fairly likable in a bland sort of way - a very, very bland sort of way. [17 Sep 2002]
    • Baltimore Sun
  48. But it's going to take more than two or three minutes of near-art near the end of each hour to keep this series on the air. [29 Sept 2001, p.2D]
    • Baltimore Sun
  49. The problem is, at the end of the pilot, one simply doesn't care enough about Jay and Tyler to go on the lam with them each week.
  50. I suspect Olbermann could build it out exponentially. But for that to happen, Gore or someone is going to have to rein Olbermann in on reckless and self-indulgent attack segments like the last one with Moulitsas.
  51. I watched the pilot three times, thinking I'd get used to the timer. But each time, I found myself looking at the timer more than I did at Ellie. And, I'll tell you something: for the first half of the pilot, I liked the timer a lot more than her. And I'll tell you something else: the timer is only one of several things I hate about the pilot. [26 Feb 2002]
    • Baltimore Sun
  52. While the story line speaks to loneliness and celebrates community belonging, the episode ultimately feels as flat and superficial as a mass-produced holiday greeting card.
  53. The Eric character and his sort-of girlfriend, Donna (Laura Prepon), do provide a few sparks of interest in this ensemble of dumbed-down teens, but it's not enough for me...Fox calls the series "retro hip." I think it's retro dull. It probably seems a lot funnier if you are 16 and smoking pot. [22 Aug 1998, p.1E]
    • Baltimore Sun
  54. I like Williams as an actor, always have. But he can sink to the level of those around him, and I'm not too sure about the kids in this drama -- Vivien Cardone as his 9-year-old daughter Delia, and Gregory Smith as his 15-year-old son, Ephram. On the other hand, who knows with kids anyway? They could get better in a hurry. The writing also has a tendency to go a bit gooey in the middle. [16 Sept 2002, p.1C]
    • Baltimore Sun
  55. While the series created by Shonda Rhimes brings some outstanding performers like Amy Brenneman and Audra McDonald back to weekly TV, tonight's season opener is not very appealing.
  56. But as perfect as Leary is in some ways to play the wounded and angry working man in midlife crisis, it is a one-note act...Leary is simply not an actor capable of other notes, let alone nuance. Anyone who saw him in the ABC cop series "The Job" has seen this character.
  57. Neither Meloni nor Hargitay is a great actor, and both are guilty of overacting here...The limited range of each is suggested by their over-reliance on one or two basics moves. Meloni purses his lips and bugs his eyes out to tell us he's intense and/or getting mad. Hargitay runs her hand through her hair to tell us she's stressed. She does the hair thing so many times tonight you fear she'll have pulled all her hair out by midseason. [20 Sept 1999, p.1E]
    • Baltimore Sun
  58. The only way it will strike anyone who has seen HBO's "The Sopranos" as extraordinary is in how extraordinarily tame it is.
    • Baltimore Sun
  59. Annie Potts (who's OK, but no Michelle Pfeiffer) is a teacher so good, so strong, so committed, you wonder if she's vulnerable to kryptonite. She also inhabits a fantasy world where she's able to stare down gang members and nonchalantly plant a kiss on the cheek of a sleeping student (wonder what the school-system lawyers in B'more would say). [30 Sept 1996, p.6D]
    • Baltimore Sun
  60. Let's not kid ourselves, this is mainly escapist entertainment fare.... I'm sorry, but I cannot feel good about watching a drama that celebrates--yes, celebrates--one class of people oppressing another.
  61. At times, The Apprentice seems like one long Trump commercial. [7 Jan 2004]
    • Baltimore Sun
  62. The problem isn't as much with DeVito and Reynolds as it is the ensemble to which the actor and character are added. [29 Jun 2006]
    • Baltimore Sun
    • 65 Metascore
    • 30 Critic Score
    What worked so well in short Daily Show-sized bites wears thin over a half-hour program.
  63. Even granting lots of leeway for opening-night nerves, this was a pretty bad beginning for the Saturday Night Live alum.
  64. In all but one or two cases, if I were seated with one of these people on a plane, I'd ask to be moved next to a crying baby or a drunk. What CBS has done here is cast this house with people who resemble the stock types we have come to know from prime-time sitcoms and dramas for 50 years. [6 Jul 2000]
    • Baltimore Sun
  65. The show is vulgar, adolescent and sexist -- and seems proud of it. [18 July 2004, p.2F]
    • Baltimore Sun
  66. HBO's Recount fails. Invented dialogue and actions attributed to real-world figures play side by side with, and are indistinguishable from, verifiable actions and events that took place in Florida in 2000.
  67. If only Green had not made such a cold, bland stew of such rich and tasty ingredients.
  68. The result is a silly, one-dimensional cartoon of a family that I am guessing viewers will start tuning out before the half hour ends.
  69. It's all about superficial glitz: Pretty to look at, but utterly devoid of real dramatic meat on its bones. In the pilot, Duhamel's character is sleeping with Big Ed's flirty daughter, and Big Ed doesn't like it. I could care less. [22 Sept 2003, p.1C]
    • Baltimore Sun
  70. Are you ready for a new fall network series--even a lame one?
  71. Last week, I complained about NBC's plan to turn its 10 p.m. hour over to Jay Leno five nights a week. I take it all back. If this is the alternative, Leno can't arrive soon enough.
  72. Big talent meets weak script and every TV crime cliche known to prime time.
  73. I swear I have no idea what The Guardian is supposed to be about. But I don't think the producers or CBS do, either. [25 Sept 2001, p.3E]
    • Baltimore Sun
  74. According to the laugh track, this is one seriously funny half-hour. Obviously, it knows something I don't. This isn't a sitcom, or even a comedy with a plot; it's a series of mostly lame one-liners. It's a comedy that mistakes smirks for laughs. Bet you don't even crack a smile. [9 Sept 1996, p.6D]
    • Baltimore Sun
  75. It's hard to figure where the makers of "Third Rock" believe they went right. The humor never rises above high-school-lunchroom level, and even then it's not over-the-top enough to make it very appealing. The actors are talented enough -- Lithgow and Curtin certainly have nothing left to prove, and Gordon-Levitt seems to be that rarest of finds, a young actor who knows about timing. What they're doing in this mess is one of those questions for the ages. [9 Jan 1996]
    • Baltimore Sun
  76. The university setting is intended to lend some intellectual weight to all the sexual imagery and conversation, but the road to mediocre TV drama is paved with such disingenuous intentions.
  77. Let's hope Rules is just a misguided piece of fluff that disappears after a dozen episodes - and not a bellwether series trying to tell us something about how our lives have changed for the worse.
  78. The worst new high school show I can remember seeing in a while. I am not sure which of the leads I find less interesting -- Sam (Carly Pope), a wannabe journalist who mainly wants to sleep with her journalism teacher (Chad Lowe), or Brooke (Leslie Bibb), the cover-girl- perfect-looking cheerleader with the eating disorder. [29 Sept 1999, p.1E]
    • Baltimore Sun
  79. Maple believes he created a hero in the character of Mannion. I see a self-aggrandizing, self-important hotdog in black and white shoes who I wouldn't put in charge of a swing dancing class let alone the police department. [7 Oct 2000, p.1E]
    • Baltimore Sun
    • 42 Metascore
    • 10 Critic Score
    This weekly version of the wish-fulfillment movie is astoundingly bad. [5 Mar 1994, p.5D]
    • Baltimore Sun
  80. Secret Diary is a nonstop glamorization of prostitution.
  81. This show doesn't deserve a spot in daytime syndication, let alone a key position in prime time. I am serious, there were better game shows on in the 1950s when budgets were miniscule, technology was primitive and few producers yet knew how to use the medium of television.
  82. It is one of the worst sitcoms on the air.
  83. I will waste little time on the wretched Lennon production: Lennon Naked, a Masterpiece Contemporary airing Sunday night on PBS. I write this only to warn viewers off of wasting even 10 minutes of TV time and their lives with this sorry docu-drama that follows Lennon through his Beatles fame and into his marriage to Yoko Ono and the end of the band.
  84. It is both bad and offensive in its depiction of some of the workers at a small hotel.

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