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 Breaking Bad: Season 5
Lowest review score: 0 Work It : Season 1
Score distribution:
  1. Mixed: 0 out of 182
  2. Negative: 0 out of 182
182 tv reviews
  1. 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.
  2. This compromise version emphasizes some of Killen's own weaknesses — he's not a procedural guy, as the cases on "Awake" tended to demonstrate.
  3. 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.
  4. 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.
  5. Right now, it's a work in progress at best.
  6. 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.
  7. 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.
  8. 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.
  9. 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.
  10. 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.
  11. 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.
  12. This is a pretty by-the-numbers blend of teen angst and horror.
  13. 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.
  14. 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.
  15. [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.
  16. 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.
  17. 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.
  18. 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.
  19. The actual version of Unforgettable is so plodding and serious.
  20. 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.
  21. 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.
  22. The Firm at this point doesn't offer much on its own.
  23. 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.
  24. My problem with the film is that it's all surface.
  25. 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.
  26. The Newsroom is convincing as a faux newscast. It's less convincing as good television.
  27. Anger Management is Charlie Sheen doing what Charlie Sheen does-- on-screen. It's not artful, it's not elegant.
  28. 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.
  29. 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.
  30. There's no character you haven't seen before. More importantly, there's no character that hasn't been done much, much better elsewhere.