Denver Post's Scores

  • TV
For 296 reviews, this publication has graded:
  • 64% higher than the average critic
  • 1% same as the average critic
  • 35% lower than the average critic
On average, this publication grades 6.5 points higher than other critics. (0-100 point scale)
Average TV Show review score: 71
Highest review score: 100 Band of Brothers: Season 1
Lowest review score: 0 Rob: Season 1
Score distribution:
  1. Mixed: 0 out of 218
  2. Negative: 0 out of 218
218 tv reviews
  1. Supremely satisfying. [21 Oct 2004]
    • Denver Post
  2. Viewers should expect a bit of exposition before the series shifts into high gear. By the third episode, bada bing, it's off and running. [13 Jan 2000]
    • Denver Post
  3. The series remains smarter and funnier than most anything on television. ... But be forewarned: the 'Sopranos' season starts slowly and a bit unevenly. [4 Mar 2001]
    • Denver Post
  4. Despite its endlessly flat landscape, FX's Fargo is elevated by the most spellbinding direction of any drama currently on TV. Season 2 achieves new heights, thanks to writer-director Noah Hawley. The music is exaggeratedly dramatic, and the split-screen device is a throwback to early TV and film's bold experimentation.
  5. The key characters remain compelling although the multiplying coincidences and overlapping relationships are becoming trying.
  6. One of the best series anywhere. [8 Jun 2003]
    • Denver Post
  7. David Brent, brilliantly conceived and played by Gervais, remains among the most wonderfully annoying characters in modern TV comedy. [12 Oct 2003]
    • Denver Post
  8. The humor is often obscure. The flavor ranges from silly to heartbreaking, crazy to profound. The Emmy-winning show's unpredictability is part of the charm.
  9. Gritty and grim, The Shield takes the familiar genre to a new level of intensity, graphic violence, nudity and, not least, profanity. The vocabulary may shock some viewers; the casting will surprise others: Michael Chiklis plays the heavy, the corrupt cop at the center of The Shield. It's a riveting star turn. [12 Mar 2002, p.F05]
    • Denver Post
  10. If it's action you seek, Rectify is a poor choice. But for fine cinematography, great acting and probing character development, you'll want to tune in.
  11. The creepiness is slow and almost elegant. The vision is grand, epic even. The music, by Mogwai, is wonderfully absorbing. The whole creation, by Fabrice Gobert, is first-rate supernatural drama more than a mere horror show.
  12. What follows is a rich, funny, touching exploration not just of transgender life, but of family, identity and sexuality in general. Tambor's genius in the role is in creating a very particular female character well beyond makeup and wardrobe, seemingly on the cellular level.
  13. An engrossing drama about a modern seaside town that comes unraveled with the mysterious death of a young boy.
  14. This is high-definition bliss.
  15. This season's three installments--"Scandal in Bohemia" is followed by a scary "The Hounds of Baskerville" and "The Reichenbach Fall" in which nemesis Moriarty (Andrew Scott) returns--make a pleasingly diverse set.
  16. The horrors of war, the danger of shifting alliances and the anguish of intra-family rivalries raise the dramatic stakes, matched by the glorious visuals.
  17. The Corner is a marvel - a powerful testament to the crumbling inner city, the Catch-22 of urban social services, and the strengths and vulnerabilities of the human spirit. [16 Apr 2000, p.K-09]
    • Denver Post
  18. The casting is terrific.... There are numerous surprises, including how riveting the tale is in this telling.
  19. Judging by the first six episodes, this round is just as addicting as the first, the ensemble rising to the occasion of topping their first outting.
  20. The season's best new drama introduces a smart ensemble and immerses us in a tangle of conflicting viewpoints. The storytelling device, which occasionally backtracks in time, isn't distracting or forced. [29 Sept 2002, p.F-02]
    • Denver Post
  21. The series returns for season 2 on July 13 on Showtime, still excelling thanks to a confluence of terrific casting, great performances and smart storytelling about America in the repressed 1950s.
  22. These four transporting hours tell a touching, funny, heartbreaking story that underscores how complex life is, how fragile human interactions are.
  23. The season's best new comedy - we're talking laugh-out-loud funny. [2 Nov 2003, p.F-14]
    • Denver Post
  24. Suffice it to say creator Matthew Weiner unspools enough story to keep fans hooked, immediately satisfying some curiosities and creating others.
  25. No spoilers here, but there's a twist at the end of tonight's hour of Friday Night Lights that will reverberate through the season. This is cause for concern: The addition of a sustained mystery, not to mention the sight of teens jumping through windows to meet sex partners, could render Friday Night Lights more like every other show. Still, if it makes the story more accessible for those who crave a more literal narrative without altering the basic nature of the series, I'm for it. [5 Oct 2007, p.F-02]
    • Denver Post
  26. As the new season begins, this series continues to be among the best of the extraordinary number of great TV dramas vying for attention.
  27. The entire 14-hour, seven-night experience of Burns' latest opus is an engaging and at times surprising marathon.
  28. Benedict Cumberbatch is alive and well and in fine form.... Purists may find the fancy graphics distracting but creators Steven Moffat and Mark Gatiss use the high-tech touches sparingly.
  29. Part of what makes his series hilarious is the riotous pace and innovative comedic rhythms that sneak up on viewers. This distinctive style is as different from TV's old "Laverne & Shirley" model as third-wave ska is from Perry Como. [7 Nov 2004, p.F-15]
    • Denver Post
  30. Long before Sept. 11, the standout of the fall TV season was an ambitious thriller about a counter-terrorist. ... It's even more captivating now that terrorist threats are a daily fact of life. [4 Nov 2001]
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  31. Innovative camera work and occasional sound effects throughout add distinctive elements to the series. [9 Jan 2000]
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  32. Mad Men remains a brilliant, perfectly designed and visually exciting series--one of the very best the medium has to offer--whether you take it at face value or find the experience of watching the TV series enriched by tracing the modern echoes.
  33. Like the best TV shows, Ed has a profound point beneath its silliness. It seems it's always possible to return to Stuckeyville, the hometown we carry around inside, and see new possibilities. If we let go and embrace a magical dramedy that dares to dream, we may feel somehow ennobled. [5 Oct 2000, p.E-03]
    • Denver Post
  34. The level of comedy is again superlative, with Appleby and Zimmer carrying the cynicism and viciousness to new levels.
  35. Dunham succeeds in making viewers uncomfortable while proferring a new (sharp, slightly bitter) flavor of introspective female comedy.
  36. While it's not fun entertainment (lacking the tragicomic notes of, say, "The Sopranos"), it is an amazing dramatic entry. It's only January, and only four episodes were available for review, but True Detective sets the bar for 2014's TV newcomers.
  37. Remarkable on many levels - as an interpretation of history, spotlighting what many consider to be the defining event of the 20th century, and as a tribute to heroism. Emotional and starkly realistic, it's not an easy 10 hours of television...The film also is notable as a collection of superb performances and, pragmatically, as an unimaginably expensive television production: $ 120 million. [6 Sept 2001, p.F-03]
    • Denver Post
  38. Gorgeous, high-minded, beautifully acted and sluggish, it may be a stretch for those more accustomed to the Olivia Pope-Doug Stamper-Ray Donovan versions of fixers.
  39. The engrossing, beautifully cast and well acted Masters of Sex is at once the tale of an odd couple and the story of a culture coming of age.
  40. This reprise won’t eclipse memories of the film, but it shouldn’t be automatically discounted. It’s a longer, slower study, suited to a different medium and hitting the same gruesome and all-too-human notes.
  41. Simon offers a challenging six-hour miniseries that contains social and political echoes of "The Wire" but that feels amazingly topical, too, given recent events in Ferguson, Mo.; Baltimore; and Charleston, S.C.
  42. What Nashville on ABC and "Arrow" on the CW have in common, is appealing characters in well-plotted stories.
  43. Judging by the first five hours of the second season, it successfully broadens the storylines of several key characters. The cast is first-rate; only Elizabeth McGovern? occasionally rings a false.
  44. As was the case with the controversial "In Treatment," those with no patience for self-analysis or a psychologically minded view of relationships may find The Affair slow going. But the mystery element should keep even impatient viewers guessing.
  45. The best comedy you're not watching.... Laurie Metcalf ("Roseanne"), Alex Borstein ("Family Guy") and Niecy Nash ("Reno 911") simply kill it as an ensemble, doing justice to the sharp writing of Mark V. Olsen and Will Scheffer.
  46. [John] Ridley, the creator-writer-producer, has delivered a 10-episode series that is provocative not just in terms of clever scriptwriting but in what it asks of the viewer.
  47. [A] well-researched film.
  48. Prepare for top-notch dramatic writing, exceptional camera work and complex characters. [27 Oct 1996]
    • Denver Post
  49. The new season contains more laugh-out-loud funny moments, the characters are well defined and the male characters get more prominence.
  50. The characters interact, the camera observes. And we marvel--not only at the technique and the acting, but at the fullness of each individual point of view, detailing who these people are and how they got there.
  51. Assuming you aren't a programmer and don't plan to invent the next killer app, you may at first find HBO's Silicon Valley more pathetic than amusing.... By the end of the second episode, however, the personalities take off, the humor sharpens and there's no need to reboot.
  52. Producer Terence Wrong once again delivers fast-paced, narration-free, riveting footage, thanks to video crews who spent four months, unescorted and unhindered, with hospital personnel and patients at crisis points in their lives.
  53. This is put-your-feet-up, pour-a-brandy television, a tasty import that's good company for a culture undergoing its own sometimes dizzying shifts.
  54. The story is as relevant as ever, cinematically more stunning and historically more accurate than the original. The casting is again superlative--Forest Whitaker as “Fiddler,” Jonathan Rhys Meyers as villain Tom Lea, James Purefoy, Anika Noni Rose and Laurence Fishburne are just the start.
  55. The camera is discreet, cutting away at the very end, giving privacy when taste requires. The families involved are brave in ways not required of ordinary "reality TV" subjects. Even when they appear to be speaking for the camera, the situations are not manipulated. The impact is quite powerful.
  56. A superbly acted and exquisitely rendered gem.
  57. Moody, dark yet at times poetic, this is TV made in the indie-film style, without pretense. Adult, premium-cable caliber without the visual excess.
  58. It's more than slick. The spy tale is a great character study built on concerns about how superpowers, intelligence communities and organized crime operate and what the quest for revenge can do to decent people.
  59. A medically sound, educational effort.
  60. Season 2 of Manhattan gets off to a slow start and may require catch-up work. But the high-minded story about the creators of the atom bomb soon picks up the pace.
  61. This is not just a fun escape, it’s a clever puzzle.
  62. The film glosses over the turbulent aspects of Brown's personal life (domestic-abuse charges and an arrest record are mentioned in passing), and it isn't comprehensive (there's nothing about his four wives, six children, drug addiction or his death in 2006). But the tuneful feature-length film is packed with great vintage clips.
  63. As an immersive experience for viewers who wouldn't think of getting this close to war zones, the Witness films are amazing documents.
  64. The cast, from Katharine McPhee and Megan Hilty to Debra Messing and Angelica Huston, is superb. The subject matter is a carefully blended mix of artistic and accessible.
  65. Togetherness is very L.A., and very of the moment. For some it may feel too true.
  66. It's a beautiful interview piece with archival photographs and clips that will inform any viewer's appreciation of the performing arts.
  67. A beautifully executed 1940s period drama about the men and women involved in the top-secret Manhattan Project is at once transporting and provocative.
  68. Although it's less than exciting and not at all a comic respite, Saul has me along for the ride.
  69. Push Girls is a hybrid nonfiction series and, ultimately, an inspiring work.
  70. An engaging work of strong storytelling.
  71. Last Tango in Halifax is an absorbing, sometimes surprising tale of late-in-life romance marked by stunning performances.
  72. The film brings the crude, demanding LBJ into focus along with the insecure, desperately needy man in one indelible performance. It's a beautifully rounded portrait of a complicated man at a crucial point in history, pushing for an important victory while tiptoeing toward the future that was Vietnam.
  73. The evolution of the couple's relationship is as engrossing as the strong-arm spy stuff.
  74. Netflix has previously scored with "Orange is the New Black" and "House of Cards," but this is the first true comedy it has picked up and it looks to be a winner. Unbreakable? Unassailable.
  75. The hour, directed by Chris Rock, further cements her status as an all-medium power player. By turns coy, insecure, dramatic and challenging, Schumer has the flexibility to make her conversation both intimate and grandstanding.
  76. The first three hours leave us thirsting for more.
  77. Graphic cruelty, not to mention violence, makes for difficult viewing in this lavishly produced miniseries. But it’s worthwhile, especially as director Clement Virgo has opened a new window on the experience of blacks in Canada.
  78. The goal is not an academic history but a backstage, groupie-eye view. While it's familiar territory for longtime Stones fans, it works.
  79. The documentary, narrated by Benjamin Bratt (son of a Peruvian mother), is rather dry in spite of the rich subject matter. It's particularly slow-going at the start (the pre-Alamo section is a slog), but it picks up steam as the chronology moves toward the modern age with notables contributing first-person accounts.
  80. What a wonderful, funny, poignant origin tale for fans of “Doctor Who” and newcomers alike: An Adventure in Space and Time, airing Nov. 22, features a terrific performance by David Bradley as William Hartnell, the first Doctor. And a pleasing bit at the very end that will make you gasp.
  81. [Empire is] still addicting and with a number of hot guest stars.
  82. The series sometimes meanders, but only because Grohl's goals are lofty.
  83. The CIA office politics are getting old, but the topical references remain gripping.
  84. Deeply cynical about human beings as well as politics and almost gleeful in its portrayal of limitless ambition, House of Cards is a wonderfully sour take on power and corruption.
  85. Oliver is terrific at mining humor from the most popular topics of the day, that is, the idiocy of the media and politicians. He's funny when he's knocking our intelligence. But he's best when he sticks to a barrage of short bits, enhanced with clips or photographs, as in his first week's efforts.
  86. There seems to have been a conscious decision to add a dose of not just violence but horrific suspense and shocking violence. The first hour in particular feels like a disappointing departure. The character remains the same, even if he encounters accentuated gore and mental illness in the criminals. He even grows a bit.
  87. This ambitious undertaking sticks to over-arching themes through the chronology.
  88. The second season looks to be equally incisive [as the first]. With heart.
  89. You may have read the transcripts over the years, but to hear the dialog, now on the eve of the 40th anniversary of his Aug. 9, 1974 resignation, is newly eye-opening.
  90. Luckily the addition of a few big-name guest stars helps the series regain "the big mo," as they say in politics. Judging by the six episodes I've screened, HoC remains an addictive if not credible political potboiler, elevated by new actors.
  91. For those of us who thrilled to “The Jewel in the Crown,” the latest PBS “Masterpiece” saga, Indian Summers, will scratch the same itch. As the Brits enjoy high tea on the subcontinent, the colors are so vivid, the characters so rich, the period piece so faithfully depicted, you can practically smell the Punjabi spices.
  92. Sure it’s sudsy drama. But great characters make for great fun in season 3.
  93. Scripture and subtle wit are sprinkled through the outrageous violence and a particularly lovely vocal accompanies a grotesquely violent massacre aboard an airplane. This one will delight a certain narrow audience.
  94. Frankly, the acting merits more accolades than the storylines so far.
  95. Overall, The Knick is a sublimely addictive ride for which viewers will want to scrub up.
  96. A spoofy, sarcastic and hilarious exercise in adult animation.
  97. A beautifully affecting biopic about the tragic and glorious life of blues pioneer Bessie Smith, showcasing a gutsy, soul-and flesh-baring performance by Queen Latifah in the title role.
  98. It won’t be the hit of the year, but Fresh Off the Boat is worth a look.
  99. Laurie is a wonder. His drawn face, scraggly beard, hollowed eyes and gaunt body add an offbeat distinction to his dignified performance. His is a sinister quirkiness. [15 Nov 2004, p.F-01]
    • Denver Post
  100. The prettiest soap opera on TV continues to offer a refuge from the present while mirroring contemporary attitudes and evolutions.

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