Hitfix's Scores

  • TV
For 333 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 Boardwalk Empire: Season 1
Lowest review score: 0 H8R: Season 1
Score distribution:
  1. Mixed: 0 out of 182
  2. Negative: 0 out of 182
182 tv reviews
  1. Hagman--and to a lesser extent fellow returning stars Patrick Duffy and Linda Gray--are so much more fun to watch than their four new, young co-stars that the new Dallas plays less like a passing of the torch than a suggestion that torches were better back in the '80s.
  2. Twenty Twelve is ultimately too safe and predictable to be funny enough for the time spent watching it.
  3. Ultimately, I found Da Vinci's Demons ridiculous but fairly amiable.
  4. There's enough strong raw material on hand that Ray Donovan could eventually be built into something great. Right now, though, it's raw material in search of a series.
  5. Though The Newsroom, like "Studio 60 on the Sunset Strip" before it, is mostly Bad Sorkin on display, there are also those occasional flashes of Good Sorkin that make it worth sifting through the rest of the mess to find.
  6. The pilot feels like 17 shows all crammed together into one.
  7. Hello Ladies is so much of a piece with both "The Office" and "Life's Too Short"--oblivious asshole keeps putting himself in humiliating situations because of an overinflated sense of self--that it's tiresome almost from the start.
  8. Urban is usually a likable presence, and in time Kennex might calm down and start feeling like a person rather than a cliché, at which point Almost Human could settle into being an acceptable spin on buddy cop tropes. Right now, though, it's Ealy or bust.
  9. Mob City looks so good that I may watch it all the way through (TNT only sent out tonight’s episodes in advance) just for the eye candy. Unfortunately, it doesn’t have much else to offer.
  10. Fleming seems to want to have it both ways--a warts-and-all portrayal of a famous writer paired with heart-stopping adventure and intrigue. The problem, of course, is without Bond at the center of the excitement, we don't care much about what happens to Fleming.
  11. It's not a terrible show, but it's a fairly literal, toothless translation of the source material that doesn't give much indication of working as an ongoing series.
  12. This compromise version emphasizes some of Killen's own weaknesses — he's not a procedural guy, as the cases on "Awake" tended to demonstrate.
  13. It isn't badly acted. I don't remember any of the performances at all. It isn't horribly written. I don't remember any of the dialogue or plot machinations. It's actually nicely shot and the art direction in the U.S. Marshals' headquarters was handsome. That's not enough.
  14. Where other law shows tend to have one side view the other as the embodiment of evil, here we see that these two are old friends from law school who enjoy the battle of wits even as they're convinced they're on the right side of every fight. On those occasions when The Whole Truth slows down to just let those two bounce off each other, it's a show I almost want to watch. But the rest of it is too fast, and too thin, to bother with.
  15. Right now, it's a work in progress at best.
  16. The show is trying to depict a good cross-section of the city's cop culture. But the scenes with the uniform cops - Ben McKenzie as a young quick study, Michael Cudlitz as his gruff but clever training officer - are just much more vibrant and memorable than anything with the detectives.
  17. There aren't any particularly wince-inducing moments, but nor are the various grabs for the heartstrings as successful as they are when "Grey's" is at its best. No lows, but no highs, either.
  18. There are some likable actors here, and funny moments here and there, but the two episodes I've seen suggest a show not in the league of the established comedies NBC has on that night.
  19. Season five is a definite improvement on season four, but only to a point. There aren't as many different stories rattling around, but the show's still so crowded that it has to bounce from scene to scene, subplot to subplot, so quickly that very little gets a chance to breathe.
  20. It's a likable cast and the show seems a potentially good companion to "HIMYM" (these characters even hang out in a bar that looks a bit like the "HIMYM" bar shifted 90 degrees), but there's one problem: It's not especially funny. Not yet, anyway.
  21. The series as a whole seems much more interested in the love triangle involving Arthur, his bravest knight Leontes (Philip Winchester) and the beautiful Guinevere (Tamsin Egerton) than in actually showing the growth of a king. It doesn't help that parts of that story are bizarrely anachronistic.
  22. This is a pretty by-the-numbers blend of teen angst and horror.
  23. There's no there there. Annie's missions each week are forgettable, and most seem to revolve around Annie seeming to get too personally invested, only for her instincts to be proven right over her more jaded colleagues.
  24. The pilot episode definitely would have benefited from a less-is-more approach, while the series as a whole could use a little more meat and/or logic.
  25. [Thorne's] a likable, charming actress, surrounded by a bunch of familiar, appealing performers (Cohen in particular is someone I've liked a long time, even if the business hasn't known quite what to do with him), and I think there's potential in this idea. But the execution and/or the network aren't right for the idea.
  26. State of Georgia just comes across as a straight-down-the-middle girls-in-the-city comedy that wouldn't have been out of place on ABC or NBC's lineup back in 1987.
  27. The British show accepts that this is the story of two very damaged individuals and is willing to confront that damage early and often - sometimes seriously and sometimes in black comic fashion. Whether by choice or NBC fiat, Enbom has placed these same characters into a much lighter style, and the fit doesn't work.
  28. Taylor does a strong job of showcasing the show's main set, a recreation of the original Club, and several of the musical numbers (sometimes the Bunnies get to sing, and other times the show casts actors to play '60s musicians like Ike & Tina Turner) really pop. But the show's attempts at social relevance ring hollow, and the main plot leans too heavily on the wooden Cibrian.
  29. The actual version of Unforgettable is so plodding and serious.
  30. As set up by White (and Dern, who's a producer and a contributor on the pilot script), Enlightened feels too lightweight to work as a short drama, and too clumsy in its attempts at humor to work that way.
  31. There's a potentially good supernatural cop show to be made, and certain pieces in place to make this into that. But the version you'll see on NBC tonight seems to be embracing the show's likely failure by being something few will miss if it doesn't work out.
  32. The Firm at this point doesn't offer much on its own.
  33. The combination of the characters and the style made the whole shebang much easier for me to take than the movie. Still, I didn't feel any need to watch later episodes.
  34. My problem with the film is that it's all surface.
  35. It's not bad so much as tired: sexual tension between doctors, mysterious ailments that are diagnosed at the last possible second, even the hoary old cliché about the patient who needs life-saving surgery that their religious beliefs forbid.
  36. The Newsroom is convincing as a faux newscast. It's less convincing as good television.
  37. Anger Management is Charlie Sheen doing what Charlie Sheen does-- on-screen. It's not artful, it's not elegant.
  38. For this show to work long-term, its human characters have to become richer--and funnier--so that they can evolve with the audience long post the point where the writers have run out of tricks that Crystal and her various winged or four-legged co-stars can do.
  39. Though Esposito and Burke are both excellent--and Kripke and Favreau stage a classic swashbuckling swordfight for Miles that's easily the highlight of the first hour--far too much time is spent on the boring (Charlie) or annoying (Danny) teenagers.
  40. There's no character you haven't seen before. More importantly, there's no character that hasn't been done much, much better elsewhere.
  41. Even with all the changes in front of and behind the camera, Smash is fundamentally the same show with the same problems.
  42. The problem is that Zero Hour is either unwilling or unable to be that crazy all the time.
  43. The characters don't feel any richer here than they do on CBS' various cop shows, and the series doesn't even commit to how much it wants to keep you guessing about why the crime occurred.
  44. Ghost Shark, in contrast [to "Sharknado"], is probably closer to 75 or 80 percent "great title," with the execution lagging behind. That may not be better than some on the Syfy slate, but it's better than many and there are moments of fun here, even if they come way too early in the movie and set Ghost Shark up for a final act that fizzles.
  45. I found the characters forgettable, and the pilot as a whole--which mostly focuses on the characters' depressing, overwhelmed everyday lives pre-jackpot, along with flashforwards suggesting what a pain the money will turn out to be--weirdly stressful.
  46. The characters are all broad types, the '80s references (Gobots, Sam Goody, an REO Speedwagon singalong) mostly feel shoehorned in rather than creating the feeling of the era, and the hostility of the family doesn't turn out to be great fodder for humor.
  47. Simon, Sydney and their colleagues work in a giant office that seems much too underpopulated, just as the first episode feels like a rough draft.
  48. Gabriel's super powers are the thing meant to set the show apart, but the Intelligence writers frequently do a poor job of differentiating how he's any different from someone wearing Google Glass.... That said, Holloway's charm did not get chopped away with his long hair.
  49. It's all pretty retro and forgettable.
  50. Like most of [Starz's] shows, though, it's all flash and no substance, and the flash fades pretty quickly, no doubt right around the point the production accountant realized just how much it costs to film extended sequences with ships in water.
  51. It is non-terrible, but when there is a vastly better take on the exact same idea, the only excuses for watching this one are a lack of a Netflix subscription (and you can also buy the episodes on Amazon and iTunes) or a violent medical allergy to reading subtitles.
  52. Every beat of that material is predictable and clumsy and unfunny.
  53. As The 100 goes along, you can feel it becoming more and more the show that Rothenberg and his writers want it to be, but it sure starts off at a great distance from from that destination. And even as it gets closer, there are still too many moments of mind-numbing illogic.
  54. Turn isn't bad, but it's also too forgettable to deserve a long look, cool credits or no.
  55. Overall, though, Jon Benjamin Has a Van isn't the next obvious step for Benjamin conquering TV comedy. It's a misfire that mainly made me sad we won't have full new seasons of either "Archer" or "Bob's Burgers" until 2012.
  56. The Protector might be worse if it were attempting to do something ambitious and failing. Instead, it's set the bar near the ground, but I guess some viewers will be satisfied to see it succeed.
  57. True Blood returns on Sunday (June 26) night with too many new characters, not enough time with the characters I like, a general evasion of the most prickly parts of last season's finale, some plodding hints at a lumbering dramatic direction for this season and some breasts.
  58. Barring a significant step up in quality--or at least the self-awareness to stop taking its silly plot and characters so seriously--those people [Gen X'ers who loved "Buffy"] will only be watching out of loyalty to a part that Gellar played a long time ago, on two different networks that no longer exist, and not because she's presently doing work that merits that kind of devotion.
  59. Although there aren't any Carrie Bradshaw-esque puns on this show, nor ethnic stereotypes, the comedy feels more frantic and desperate.
  60. On top of having a dated premise, it just feels tired.
  61. At this stage, Man Up! (which was actually created by co-star Chris Moynihan) is a show with forgettable characters, jokes that don't land and a shaky grasp at best on its own premise.
  62. Beyond the problems of time and memory, there's the way that Innocent feels trashy, overwrought and disposable.
  63. When you spend all your time and energy explaining how the trick works, there's precious little left to entertain the audience.
  64. It's just a collection of creepy imagery, lots of screaming and the occasional musical number for Anika Noni Rose.
  65. It's lame and tin-eared.
  66. As a narrative achievement, though, Magic City is a mess, filled with paper-thin characters and clichéd dialogue and storylines. If not for the appealing lead performance by Jeffrey Dean Morgan as Ike, large stretches of the series would be unwatchable, even with all the lovely visuals.
  67. Even with the couples counseling gimmick, Common Law is ultimately too much like every other traditional cop show you've ever seen, even as it's also too much like every other USA show you've ever seen.
  68. None of Men at Work is funny, but the greater sin is how uninspired it feels.
  69. Baby Daddy has no real point of view, no real comedic voice and one very cute infant.
  70. The execution in this case is too shrill and scattered to get any of his points--or jokes--across.
  71. Adult life may be like high school some of the time, but it isn't all of the time--and a show suggesting that it is becomes just as difficult to endure as some of the worse memories of high school itself.
  72. Ultimately, it's the exact same tedious show they've been making, under one name or another, for years now.
  73. Williamson may have put thought into what this show is about, but what comes across on screen is an empty exercise in fetishizing the charismatic evil of serial killers.
  74. There are just a lot of crazy, crazy ideas hurled out there with no real thought given to pace or tone or how to mesh them all together.
  75. Based on the pilot (which, again, may not represent what the show looked like once Hunt took over), it's an unpleasant series full of hostile caricatures in need of fixing by Beth's heaven-sent advice.
  76. There's potentially a very interesting show about cops from different cultures, with different methods of policing, learning to work together. Based on the pilot, at least, Crossing Lines just treats all that as window dressing for the same old, same old.
  77. American Horror Story is a glorious mess.
  78. With the other Sundance series, very little may be happening in any given stretch, and yet they're so overflowing with emotion that it feels like everything is happening. Here, there are actual significant events (multiple robberies, a hit-and-run, various beatings) quite often, and yet it feels like nothing's happening.
  79. Running Wilde is, simply, not very funny. That's unfortunate, but no unforgivable sin. Funny people occasionally make unfunny things. But it's the way that it isn't funny.
  80. The problem is that Glory Daze itself never stakes a claim to its own identity. It's tonally all over the map--and that inconsistency gets in the way of the few potential laughs.
  81. All the color in the margins doesn't matter if the man at the center of the picture is a bore, which Lyons unfortunately is.
  82. Episodes isn't even as funny as Crane and Klarik's last collaboration, the exceedingly mediocre short-lived CBS comedy "The Class" - and that's even considering that the new show features Crane's old "Friends" star Matt LeBlanc delivering a terrific performance as an exaggerated version of himself.
  83. It's a lead performance that's completely at odds with the tone of the rest of the show, and one that makes all the other goofy things even more uncomfortable than usual.
  84. The three episodes I've seen felt flat and airless, outside of the performance by Sam Huntington as the werewolf.
  85. Surely, there are talented American writers not long out of their teens who could have helped craft a new group of characters and stories that reflected their own experiences - and with enough sex and drugs and mayhem to please MTV's need for extra attention.
  86. Over the three episodes USA sent out for review (the pilot, a mid-season episode, and the first season finale), what Kate does only occasionally matches up with the judge's speech, and none of her cases are interesting enough to distinguish Fairly Legal from the abundance of law shows on TV.
  87. Traffic Light winds up with a negative hat trick, in which I found myself not caring about any of its three male leads, though I did like one of their female co-stars and several of the guests who popped up in the episodes I've seen.
  88. It's formula, and while there's obviously a ton of appetite for that kind of formula in primetime (see the roster of dramas on CBS, FOX, ABC, TNT...), it's not particularly well-executed formula, and it wastes the potential of the one part of the formula that's slightly unique.
  89. Without the overwhelming nostalgia for this particular venue for Pee-wee and these supporting characters, I found The Pee-wee Herman Show on Broadway a long (close to 90 minutes) slog, cute in spots, but mainly just strange--a voyage through the fantasy life of a character I prefer to see fending for himself in a closer approximation of the real world.
  90. You can blame Winslet, or Haynes, or both, but something doesn't fit, and it wrecks everything, above and beyond spending so much time on a story that could have been just as satisfyingly told at half the length.
  91. It's a very straightforward, sincere, dull accounting of all the trouble caused by Rodrigo, son Cesare (Francois Arnaud, frequently nude), daughter Lucrezia (Holliday Grainger) and company cause with their newfound power and station.
  92. It's not painful--there are likable actors and the office setting is loose and fun--but none of the jokes land, at all.
  93. It's all incredibly broad, and lacking in any real point of view.
  94. It tries to coast on banter that's not particularly snappy, and on a snickering dependence on sex-related gags and plots.
  95. The whole thing feels like a gross miscalculation--a failed attempt to update Allen's familiar persona for an angrier, more desperate time.
  96. It could be a problem Allen Gregory solves later on, either by softening its main character (and his dad) or by pushing supporting characters more to the forefront, but the version on display in the pilot is one I have no interest in ever watching again.
  97. With the show so half-hearted about its subject matter, Teenage Daughter has to lean on the hackiest of punchlines.
  98. The fictionalized Chelsea occupies that irritating middle ground where she's not likable enough to be watchable when she's just existing, and yet neutered enough that her bad behavior isn't actually all that funny.
  99. But because Lohan seems to be going to a costume party dressed as Taylor while Bowler's giving a performance, the whole thing is an imbalanced mess.
  100. Strip away the name and this is the story of a man trying to tear apart an oil monopoly, which makes Dracula every bit as scary and sexy as the Sherman Antitrust Act.