Hitfix's Scores

For 546 reviews, this publication has graded:
  • 56% higher than the average critic
  • 2% same as the average critic
  • 42% 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 O.J.: Made in America
Lowest review score: 0 H8R: Season 1
Score distribution:
  1. Mixed: 0 out of 338
  2. Negative: 0 out of 338
338 tv reviews
  1. Its deviations from the record have to be compelling or illuminating enough to be worth it. Last year, they rarely were; so far this year, they are.
  2. Over the course of the eight hours, the story and characters take on enough life of their own so that the references don't feel self-indulgent, and so that the series can be appreciated even if you don't know the plot of E.T. or the title font of Stephen King's early novels (a huge influence on the show's own opening credits) by heart.
  3. With these characters, with this fascinating, complicated place--and one that's at the forefront of so much of what we're talking about in real world politics--and the sense of atmosphere instilled by directors like Gerardo Naranjo, The Bridge is off to such an outstanding start that I can't wait to see what this creative team does not only with the rest of the serial killer story, but well beyond it.
  4. As original series debuts go, it’s no “Oz” or “The Shield,” but it does the job it sets out to do in entertaining fashion.
  5. A half a loaf is better than none at all. When it's baked by David Simon, Eric Overmyer and George Pelecanos, it's better than most people's full loaf.
  6. Queen Sugar feels like a show built to last--albeit the sort that will frequently inspire its viewers to get choked up, shake their fists at the sky, and wonder why they keep letting Ava DuVernay and friends so expertly control their emotions like this.
  7. Insecure is less inherently dramatic than some of the other Comedies In Theory, which makes the infrequency of laugh-out-loud moments a bigger issue than on, say, Casual, but Rae is a really engaging writer and performer, and the series is charming and compulsively watchable.
  8. The Last Resort pilot episode is far and away the best I watched for this fall season. There are some bumps in the next two episodes, but also some very promising signs that, coupled with the talent involved, has me wanting to believe there is a great series here.
  9. Benoist is appealing enough, and the action sequences impressive enough, that the show gets away with the lack of subtlety. It's a competent superhero show made by people who've been doing this a while and have gotten better at it with each new stage of things.
  10. For the most part, the new season (I've seen four of the eight episodes) is excellent. Tropper and company find new contexts for most of the characters to match their altered surroundings. ... But in the middle of this comes a brand new kind of story for the show, and one that made me cringe not with delight at Banshee's latest impressive bit of the old ultraviolence, but with concern that Banshee had become TV's latest drama to prominently feature a serial killer.
  11. The show itself is very promising, albeit uneven, as almost any young comedy is, and fits neatly into the dark and very adult animated comedy brand Netflix started for itself with the great "BoJack Horseman."
  12. The Strain is packed with so much macabre imagery and so many clever ideas that it doesn't feel like the resuscitation of a tired genre, but the launch of something new and fun.
  13. Michael Hirst's saga of pillaging and migration remains everything it has been almost from its premiere.
  14. It would be very easy for the remaining producers of multi-cam to leave that [dramatic] stuff to their more fashionable counterparts and just stick to telling jokes. Mom, thankfully, is a strong reminder of just how elastic this 64-year-old format is.
  15. The show's essentially a sketch idea expanded to series length, and as a result is uneven. But when it hits, it's as hysterical as all those people screaming and breaking things in the clips from upcoming episodes.
  16. There are other half-hours I might recommend first as a holiday binge if you haven't seen them yet. But "Mozart" is an interesting, colorful look at a world I don't know well, filled with fun performances.
  17. The story drags a bit, but at the early episodes' dizzying best, they feel like Wes Anderson was mistakenly given a Quentin Tarantino script and decided to film it anyway, standards of taste be damned.
  18. It's not perfect right out of the gate--Kenneth needs to be defined by more than his amusement at Maya's unrelenting (and loud) mama bear style, though Yarbrough and Driver have a good comic rapport--but the family's likable, the writing finds humor in the world of special needs parenting without ever making fun of J.J. for his condition, and that world should provide plenty of fodder for Silveri and company to mine in success.
  19. It moves quickly, has good scares and big laughs, and the moment when Ash shifts from clown to killer is every bit the big hero moment you would want after all this time.
  20. Quick, easy, filthy, stupid, funny. You don't need to know anything more.
  21. We have two likable and funny guys and a lot of untapped material. That's an excellent start.
  22. This is a good, solid show that understands its strengths and keeps playing to them in season 2.
  23. Tom Chadwick is a man with a fixation that’s both reasonable and relatable, and he becomes our tour guide to the familiar, funny Christopher Guest worldview.
  24. The actors all get their moments to shine, even if their stories don't always feel attached to one another
  25. If Killen and Gordon don't exactly maintain the quality of the pilot each week - subsequent episodes don't look as rich nor pack as big an emotional whallop - they come close enough, particularly in dealing with Britten's work and family lives.
  26. The chemistry between Winchester and Stapleton is a treat, the action scenes remain brutal and thrilling and fun, and the show transcends simple guilty pleasure status by paying enough attention to the emotional toll this kind of work takes on the people who do it.
  27. Mr. Robot is compulsively watchable and interesting. It's a reminder that even the most well-worn cliches can still work with the right execution.
  28. I'll confess to losing the thread of the plot a time or three over the five hours I watched (the show debuts with the first two hours; there are a dozen in total), yet the location and the sense of unease that came with it kept pulling me along.
  29. It fits the channel's larger brand (in both comedy and drama) about men existing on the edges of acceptable human behavior.
  30. Fimmel, Katheryn Winnick and the rest of the cast remain, like the show, better than the material probably needs to be a commercial success, and thus strong enough that Vikings remains a genuine pleasure rather than a guilty one.

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