Hitfix's Scores

  • TV
For 334 reviews, this publication has graded:
  • 52% higher than the average critic
  • 2% same as the average critic
  • 46% lower than the average critic
On average, this publication grades 1.1 points lower than other critics. (0-100 point scale)
Average TV Show review score: 64
Highest review score: 100 The Americans: Season 2
Lowest review score: 0 H8R: Season 1
Score distribution:
  1. Mixed: 0 out of 183
  2. Negative: 0 out of 183
183 tv reviews
  1. Despite whatever aesthetic limitations it may have, The Curious Case of Curt Flood manages to tell a solidly complete version of the story over its 90 minutes, resisting the temptation to make this a simple hagiography.
  2. Not only are high school horrors pretty universal, even if the specifics change, but I can find a way to fit "Awkward" into a tradition of hyper-literal high school comedies like "Pretty in Pink" or "Heathers" or "Mean Girls" or "Juno" or "The In-Betweeners" (if your taste runs to British TV). It's not as good as any of those, but it's not as bad as "Jawbreaker," which is in the same tradition.
  3. If Jane Timoney continues to be an interesting character--and if the characters around her become three-dimensional enough to stand plausibly with or against her--then this could hearken back not only to the original "Prime Suspect," but "NYPD Blue," "Homicide," etc.
  4. The female leads are appealing, the world promising and the pilot much more clear-eyed and less compromised in its view of the era than "Playboy Club" is.
  5. The Shannons overall are about the last reason I would recommend this show, after the cool visuals, some effective action set pieces and the expected strong supporting performance by Stephen Lang.
  6. It feels fairly honest, and more interesting and relevant than most.
  7. The show as a whole moves briskly and confidently.
  8. The formula doesn't always work (insert memories of your least favorite "Grey's" story arc here), but when it does, Rhimes is as successful at tugging for the heartstrings as anyone in the business.
  9. If it's not exactly "Gilmore Girls 2: Acoustic Boogaloo," it's close enough to be reassuring--and, on occasion, distracting.
  10. With a cast this good, and with so many potentially juicy conflicts already in play, I'm going to take a more optimistic point of view than Elaine Barrish (Sigourney Weaver) might.
  11. The supporting cast was better used, there were occasional touches of humor beyond Monroe, they mythology didn't just feel like a retread of bits from "Buffy," "Angel," etc., and I even thought leading man David Giuntoli had gotten better.
  12. Grammer is outstanding enough on his own to merit watching....Boss as a series, though, still doesn't seem like it's quite there.
  13. If you're not meant to think too hard about what's happening, then "Sons" largely succeeds at its goals, particularly given the performances, the direction (led by Emmy winner Paris Barclay) and Sutter and his writers' talent for crafting gut-wrenching individual moments.
  14. The first episode is more of a pleasant experience that holds the promise of something better down the road.
  15. Quaid and Chiklis will keep me watching for a while, but in the long run I'd like to see a more ambitious approach to the material.
  16. So while Elementary fits a little too comfortably into the CBS lineup (in the timeslot "The Mentalist" was in last year), its specific approach to Holmes and Watson, and the way that Miller and Liu interact, makes the show work on its own less ambitious terms.
  17. Arrow is a competently-made superhero drama with an appealing lead performance from Stephen Amell.
  18. As with the many conspiracies of "Alias," I'm not always 100 percent clear on what's happening in Hunted, but the atmosphere and suspense are terrific, and the leading lady is compelling enough that I want to see her triumph over whoever it is she's ultimately supposed to be fighting.
  19. Downton in season 3 is still a soap opera (as it was in season 1, as well), but it's a smarter one; it's harder to see the puppet strings Fellowes is pulling this year to get to his desired outcomes.
  20. The new series succeeds on its own nostalgic terms.
  21. It's a solid, meat-and-potatoes police procedural, and one that could potentially evolve into more depending on how the flash-forwards are used down the road.
  22. Basically, it's fun: creepy when it needs to be, light when it can be (which is more often than you'd expect, given the life and death stakes), doesn't look too cheap (it has an easier time than "Copper," in that it doesn't have to recreate an earlier time period).
  23. The three episodes I've seen function as shaggy dog stories: not wildly funny, nor as dark and emotional as "Louie" so often gets, but amusing in spots and with a very clear voice.
  24. This is the closest thing to a fresh start the show is going to get, and there are some promising developments here suggesting this could ultimately be a more rewarding viewing experience than The Killing 1.0.
  25. Based on the three episodes I've seen, there's a lot of potential here, and an interesting blend of self-contained and long-form storytelling.
  26. This is all excellent raw material. Of course, King adaptations often feature such impressive individual parts, and only occasionally exceed the sum of them. But the Under the Dome pilot is quite promising.
  27. Clear History purports to have a real plot. But the movie also feels at time like an extended all-star jam episode of "Curb." Those are, perhaps not coincidentally, the best, and funniest parts of Clear History.
  28. As comedy pilots go, it's not an instant classic--though those are far more rare in comedy than drama(*)--but there are enough promising signs, both on-screen and off, to suggest it can get there in time.
  29. All told, it's a much more promising start to things than the first episode of "Dollhouse."
  30. It's more likable than funny, but it has a very clear sense of what it wants to do and how it wants to frame its star.... There's abundant chemistry between Fox and Brandt, between Fox and Juliette Goglia as his teenage daughter, and between Fox and Wendell Pierce as his boss at the TV station.
  31. If you're expecting the nuanced characterization and complex themes of some other period cable dramas of the 21st century, 'Klondike' will leave you wanting. If you're just asking for an entertaining adventure story with impressive visuals and a solid cast, it does the job.
  32. When you're smart men writing about the smartest man of all, you may feel the need to demonstrate your smarts in every possible way, with every beat of the story. But Holmes and Watson are such enduring characters, and these versions written and played so well, that they don't always require such elaborate mental gymnastics.
  33. Nikita is good, but it's not transcendent.
  34. The show is less profound and novel than it seems to think it is. But the performances are strong enough that I want to stick around for Cathy Jamison's final journey, even if the path feels particularly well-trod.
  35. There are so many lies in so many places, so many people on the verge of finding out and/or being hurt, that it feels like Lone Star might become very frustrating and repetitive by episode 3 or 4. I would watch a movie version of Lone Star, and I will stick with the series hoping it proves me wrong, but it doesn't feel like this premise has legs.
  36. So long as Elba's on the screen, I'm interested, and even more when he and Wilson are sharing it. But ultimately, Luther turned out to be more average than I thought at first, regardless of its country of origin.
  37. It took me a while to overcome the "been there, analyzed that" feelings I had in the opening episodes, as Paul and his patients began the familiar dance, wherein they talk about only what they're comfortable talking about while Paul, like a good detective, tries to solve the mystery of what's really bothering them.
  38. I was encouraged that the character-driven third episode was stronger than the zombie action-heavy second, and perhaps the producers will be proven right--that the longer this saga goes on past these initial six episodes, the more it will set itself apart from the zombie canon.
  39. Human Target is still Human Target. If you enjoyed the show last year, you will now. If, like me, you were hoping for something just a little bit deeper, you might need to wait a while to see.
  40. Overall, a solid but not riveting premiere. No goosebumps ala Eric in the halftime locker room last year, but as always, it's good to be back in Dillon.
  41. Body of Proof is, in other words, a mash-up of half the popular mystery series on TV right now: a little bit "Castle," a little bit "Bones" and a whole lot "House." How effective you find it depends almost entirely on how you feel about Delany.
  42. So the atmosphere and central performances feel worthy of telling one story over 13 hours. My concern is whether the story can say the same.
  43. Jerry Weintraub feels like he's the guy pulling the strings on His Way, which hinders the film, particularly in its second half. That doesn't mean His Way isn't an entertaining 83-minute documentary, but it's an entertaining 83-minute documentary, rather than being an enlightening film that's anywhere near as perceptive as its subject matter
  44. The Voice delivered an entertaining two hours, far more tightly packed than any "Idol" audition episode for years, though that's an unfair comparison.
  45. Peter and Neal now have very good reason to be wary of each other, and that not only suggests good things in the future but spices up all of their interactions while they work their latest case. It's a vast improvement, and a welcome example of a show eventually finding itself by eliminating outside distractions and focusing as much as possible on the core concept.
  46. It aims high, and wide, and near and far, and if it doesn't hit all of its many targets, it hits several. And that's probably enough to justify the time and expense everyone put into bringing Torchwood more firmly onto American soil.
  47. Ultimately, I was more drawn in by the team's interactions than I was by either aspect of the plot, but that's probably better for the show's long-term viability.
  48. What you have is a comedy with three very talented, funny leads, with a premise that lends itself well to stories and jokes, and execution that isn't quite there yet.
  49. The Secret Circle may be over-calculated and under-inspired, but that doesn't necessarily mean The Secret Circle is bad. There's something to be said for setting reasonable goals and largely succeeding, especially when there are plenty of shows that aspire to a good deal less and still fail.
  50. It's a good cast, and Porter in particular works very well with Bilson. The show just needs to find a way to transcend both formula and Southern stereotypes.
  51. "WWII in HD" at times felt like a rough outline of what an actual history of the war would look like, but it had all that amazing, horrifying imagery to compensate. The Vietnam in HD footage is no less incredible and/or dismaying, but it's also much more familiar.
  52. There's enough involving the main characters that I'm willing to stick around for a bit to let the rest of House of Lies find itself.
  53. The toughest part of most new series is coming up with characters that the viewer will want to watch for weeks, if not years, on end, and they've already licked that part of it. We'll see if the rest follows.
  54. It's an interesting, emotionally manipulative but still effective hour of television.
  55. If you view it as, say, a USA show with less humor but much higher production values, with attractive people having adventures you can enjoy while doing the laundry or sorting through junk mail, it'll do the job for now.
  56. Some of it works, while other pieces either need to be dropped or improved going forward. Fortunately, there's a solid foundation in Walker and Ritter as the uneasy roommates.
  57. It's a primetime soap, but one that's genuinely more interested in what the characters want to do for a living than in who they're sleeping with.
  58. I'd like to see the mysteries grow more engaging as the series moves along, but Longmire at least starts with a good foundation in Walt, his sidekicks, and the wide, open spaces they travel.
  59. Awkward has grown and matured, but I don't think I love the direction that MTV and, presumably, Iungerich have chosen to push the show.
  60. There's enough in this first episode to bring me back for more, but a lot of potential trouble signs along the way.
  61. It's successful enough at achieving its own more modest goals.
  62. It's a promising framework for a series, and the first two episodes of Copper work in fits and starts.
  63. Throughout the one-hour Mockingbird Lane pilot, it's easy to see why NBC wanted Fuller (with help from director Bryan Singer) to tackle this material, just as it's easy to see why his take scared them.
  64. There's a likability to it that occasionally reminded me of another one-hour comedy that loved music, NBC's "Ed," and the varied nature of the parties the guys play evokes Starz's late, lamented "Party Down."
  65. Like many a new comedy--and new presidential administration--it needs a little time to get settled in before we can expect it to really make its mark.
  66. It feels like Port, Guarascio and the other writers decided to reverse-engineer the Harmon version of Community, but couldn’t quite manage without the missing ingredient of Harmon himself.
  67. The lead performances, and the way that relationship is written, are all excellent enough to stick around a little while longer in the hopes that Bates Motel as a whole becomes something more interesting. But a lot of that may also depend on what exactly Cuse and Ehrin want Norman Bates to turn into, and how quickly.
  68. It's sweet in spots (mainly in scenes involving Miller's ex-con man-child trying to reconnect with his daughter), and the idea has potential, even though this is a premise pilot that has to spend so much time introducing the siblings and the competition that none of it's fully realized.
  69. Despite some incredibly funny set pieces--almost all of them involving two or more of the original characters interacting in ways we instantly understand (like Buster helping Lucille deal with the conditions of her house arrest). The new season doesn't really work as its own thing, but as a prologue for this movie that no one in the industry has shown the slightest inclination towards making.
  70. There's lots of snarling, lots of talk about what men are willing to do to protect or hurt one another, and yet in the early going it feels empty, like a joke being retold by someone who can't remember exactly how the guy he heard it from delivered it. The performances are terrific, though (James especially), and Dickerson shoots the Detroit locations in a fashion that captures both the beauty of the architecture and the absolute bleakness of the setting.
  71. Four hours is brief enough that the joy of seeing Elba back on TV outweighs the silliness of Luther as a whole.
  72. It is aware of just how ridiculous it is, and it tries to cram in as many wacky ideas as can fit into the opening hour without falling into complete camp.
  73. It's a pretty shameless "Silence of the Lambs" rip-off--one scene in the pilot beat-for-beat copies the "quid pro quo, Clarice" scene where Lecter gets Clarice to talk about her childhood--but also a fun character for Spader to play, and the writers know what to have their leading man do and say.
  74. I don't love the pilot, but the raw material's there for a very good comedy.
  75. The first pilot was already emblematic of the struggle to do cable-style weirdness and moral ambiguity in a broadcast network context; the new pilot sands off several of the edges that survived the first time.... It is, essentially, "House, JD," and Kinnear has the impish charm to play this kind of character.
  76. Cuarón's contributions behind the camera are by far the most interesting part of Believe.
  77. It's not especially fresh material, nor is it all that nuanced, but it's peppy and occasionally clever and it offers ample eye candy for any and all tastes.
  78. When I tell you that Weeds is off to a good start with Monday (Aug. 16) night's sixth season premiere, you have to know that what I'm saying is that it's pushing the story forward in interesting ways, not that Weeds has gone back to being the show it was in Season Two.
  79. If you walk away from the Mike & Molly pilot and tell me that you hate it, because the only version you remember is the grating, pratfall-laden "laughing at" version, I can't say you're wrong. I can try to point you to the better parts of the pilot, like Mike's "share" to the Overeaters Anonymous group or his very different "share" to Molly's class of students, but as Chris Farley could have told you, those things don't get cheers like the "fat guy falls down" hijinks.
  80. It's a low-key premise, but not a bad one. And when you have comic actors this solid on-board, you can almost make believe that this flimsiness has substance.
  81. The weekly cops-and-lawyers procedural aspect of the show was never going to hook me, but I found the pilot's core case, featuring an abducted girl, to be particularly manipulative and uninvolving. I was also irked by the contrivances that would allow Moynahan's character to be handling a case in which her brother was accused of malfeasance. I was much more interested in the multigenerational family stuff that played out.
  82. As a show about average people who become superheroes, No Ordinary Family is very promising. It's the "Family" part of the title where the series has problems.
  83. If it felt much like an episode of one of Conan's old shows, the Conan debut also felt like a middle-of-the-pack example. Some funny bits, some other obligatory moments, and a good feeling to have the guy back, but nothing extraordinary like, say, his final week on "Tonight."
  84. Greek is bound-and-determined to retain focus on its core cast, even if some of the machinations to make that possible come across as slightly contrived and belabored.
  85. Much like "Cougar Town" was back in the fall of '09, Mr. Sunshine is a show with a lot of likable performers, a solid creative pedigree, occasional laughs and a whole lot of room for improvement.
  86. Now, I wouldn't say I loved it. Parts of it I didn't even like. I became quite engaged with what was going on downstairs with the servants, while I found virtually everything having to do with the Granthams (at least the parts unrelated to how they dealt with the staff) a chore to get through.
  87. I don't have much new to say about the third season of Jackie, because the show's strengths and weaknesses are the same as they've always been.
  88. There's a promising show here, and with time maybe Chaos can figure itself out.
  89. A good sitcom is much more likely to have started life with a bad pilot than a good drama, and there are little glimmers in each episode that suggest a much better show could come later. But those glimmers are much more obvious in 2 Broke Girls than in "Whitney."
  90. Despite the presence of Nolan (who's co-written most of his brother Christopher's films, including "Memento" and "The Prestige") and producer J.J. Abrams, this is very much a CBS crime procedural, one that could fit comfortably alongside "The Mentalist," et al. But it would help an awful lot if Caviezel had a few Red Bulls first.
  91. After a lively and appealingly hilarious premiere, Dexter goes entirely off the rails with two episodes hobbled by clumsy victims-of-the-week and then crushed with endless repetition of the core theme.
  92. The larger problem, though, is that unless you're deeply invested in the fairy tale characters and seeing the variations on their familiar backstories--seeing, for instance, that Snow and Charming had a very different first meeting than the one we know about--then most of the story and character work is flat, despite a cast of likable, game actors.
  93. It's not quite good (other than The Swede), but it's also not especially bad (though it has occasional terrible moments.
  94. It's mediocre, but it's at least pleasantly mediocre.
  95. You can feel Hardy and his mad energy desperately pushing The Take along, but you can hear the gears grinding.
  96. Jane By Design is by-the-numbers in its every facet.
  97. It's much too generic given Abrams' reputation from "Alias," "Lost," the better years of "Fringe" and the "Star Trek" reboot.
  98. Though there are some good jokes here and there about the humiliations a little person actor has to endure on your average movie set, for the most part, the biggest laughs have little to do with Davis and everything to do with the celebrity guests.
  99. It's still not anywhere near the ballpark of the earlier AMC shows, and the plot itself remains incredibly frustrating, but there are other aspects that feel closer to the show Sud said she was making last year, rather than the one she actually made.
  100. NYC 22 feels like the TV version of the show it wants to be.