Hitfix's Scores

  • TV
For 391 reviews, this publication has graded:
  • 54% higher than the average critic
  • 2% same as the average critic
  • 44% lower than the average critic
On average, this publication grades 0.3 points lower than other critics. (0-100 point scale)
Average TV Show review score: 64
Highest review score: 100 Parks and Recreation: Season 3
Lowest review score: 0 H8R: Season 1
Score distribution:
  1. Mixed: 0 out of 218
  2. Negative: 0 out of 218
218 tv reviews
  1. Even with Walt's apparent victory over all who would seek to deny him, his genius and his strength, Breaking Bad is still a perfect model of filmed suspense.
  2. It's still Homeland, and it's good.
  3. They know how great the show looks, they know how much their actors can give them, and they know just how much they can get away with.
  4. Louie viewers don't know exactly what they're getting in any given week, but the show is so elastic that nothing it tries feels like something it shouldn't.
  5. It is entirely its own thing, and it is one of the very best shows on television. We're lucky to have it back.
  6. There is nothing else on television quite like it, and for those who have the patience to sit through Daniel's still, slow journey, the emotional rewards are enormous.
  7. Homeland functions terrifically as both a thriller and a commentary on our post-post-9/11 world, where the War on Terror and the concept of being constantly under surveillance are both facts of life.
  8. The deeper you go, the more powerful The Returned gets.
  9. It's the best new TV show debuting anywhere this fall, by a long stretch.
  10. Darn it if Justified showrunner Graham Yost and company haven't found a way to equal--if not top--that bunch [of opponents], while at the same time building on the lessons they learned in the first season.
  11. Broadchurch is a police procedural, and an effective one, but what renders it special is the way it tracks the ways that physical and emotional violence haunts everyone in the town.
  12. Game of Thrones remains a very entertaining series set in a very rich world. But the longer it’s on, the more it feels like Benioff and Weiss are only scratching the surface of that world--even if that may be the only way to coherently explore it.
  13. By forcing Raylan to retrace his father's decades-old steps, Yost is reinventing his show yet again, but he's also going deeper into the heart and mind of the man with the big hat and gun.
  14. Silly or sober, Louie is one of the best shows on television.
  15. As the follow-up to an incredibly strong debut season, it's even more fun.
  16. It's the show it was last year, but in many ways better.
  17. The sheer number of colorful characters maneuvering keeps things lively.
  18. Masters of Sex has much more on its mind than simply the tumultuous relationship between its two famous central characters. But if it just had those two, it would still be among the best things you could watch on television this summer.
  19. The premiere suggests that the only other show that belongs with it in the discussion for the best drama on television is the same one we were talking about last season. At the top level, there is "Breaking Bad," and there is also--finally, thankfully, exceptionally--Mad Men, and then there is everything else.
  20. The last thing television needs is more serial killer dramas. But when they're this well made, this smart and creative and unexpectedly funny? Then, yes, more Hannibal, please.
  21. Season 2 finds ways to introduce even greater tension, even as [Philip and Elizabeth are] a more fundamentally sound unit, while also adding a whodunnit element that spices things up nicely.... Absolutely dynamite.
  22. As with the best of these broad canvas series, the players and their allegiances become clear within an episode or two. And from that point on, Boardwalk Empire becomes everything that HBO (and I) had hoped for it.
  23. It continues to be one of the most satisfying dramas in the history of the medium.
  24. This is an absolute: Top of the Lake is great.
  25. It definitely has a voice, and it's a great one: witty and wise and warm and not exactly like anything you've heard before.
  26. The two central performances are so powerful, the dialogue so evocative, the look so intense, that they speak to the value of the hybrid anthology format Pizzolatto is using here--which, along with FX’s “American Horror Story,” points to a potentially fascinating shift in dramatic series television.
  27. Masters of Sex is the best new show of the fall by a very long stretch. It's also a refreshing anomaly: a prestige cable drama that doesn't feel like a recombination of elements from 15 shows that came before it.
  28. It's so small and spare and simple, and yet it can be incredibly effective at what it does. Nice to have it back.
  29. Over the course of the first four episodes (and hopefully over the remaining six), the TV Fargo establishes itself as its own wonderful thing that is connected to the movie without being a recreation of it, and that doesn't seem unworthy of the name.
  30. It's a smart mix of soap opera, music and political intrigue.
  31. The ideas behind most of these developments are fine, but they get thrown at the viewer so haphazardly as to require dramatic organ music when each is introduced.
  32. The first episode, at least, is terrific, with a distinct, involving tone, and it does very right by its leads.
  33. In season two, the strengths of Treme remain strengths, while some of the show's weaknesses have been much improved.
  34. The darker and more complicated life gets for the Sons, the better the TV show tends to be. And based on the four episodes I've seen, Sons is still at the incredible level it achieved a year ago, when it became one of the best dramas on television.
  35. It's a perfect marriage of creative team, channel and subject.
  36. Nurse Jackie season 4 is all consequences, all the time--and is much, much more satisfying overall as a result.
  37. What makes these episodes feel extra-special is the sense of purpose to them. There's a big story being told here--not one that requires you to watch every episode (though your funny bone will thank you if you do), but one that seems to raise the stakes for everyone involved, and which makes the jokes funnier, the characters richer, in the process.
  38. It's a show that stands entirely on its own while never forgetting the series that inspired it.
  39. This doesn't feel like a factory product, but a work of individual, beautiful craftsmanship.
  40. Happy Valley is so effective at what it sets out to do, and so neat in fitting all its pieces together (up to the way the story's climax evokes a much milder incident from early in the series), that I'm a bit ambivalent about the fact that a second season has already been ordered. Lancashire is so good that I won't necessarily mind getting to watch more of her in this role, but this particular story is so unique to her in a way that no sequel season can be.
  41. Normal is overrated. Give me whimsy, dreams and Evil Troy and Evil Abed any day. Give me extraordinary. Give me Community.
  42. The Honorable Woman is really a thriller and, at its best, it's on a level with something like "Homeland" at its best.
  43. For some, the six hours of Rectify will feel like a very slow sentence indeed. For others, the performances, the very clear sense of time and place, the beautiful images and the thoughtful things the series has to say about life, death and spirituality will feel like no time at all.
  44. The Walking Dead is excellent with action, with suspense, and with atmosphere, and these early episodes have all three in spades.
  45. While there are many extraordinary moments in the new season, there's still enough inconsistency that I'm still waiting for it to become the classic drama it so clearly has the tools to be.
  46. [Deb's new] knowledge, and the way it alters Dexter and Deb's relationship, shakes the series out of the doldrums it's been in for several years now.
  47. If the start of the season feels formulaic, it's a formula that's worked in the past, and one that gives very good material to key members of the ensemble.
  48. A winning new drama set only a few years before Don Draper would get a new secretary named Peggy Olsen.
  49. It's not wildly funny in the early going, but there's a sense of confidence in the material, the tone and the world, and the creative team doesn't ask you to buy into things that aren't necessary.
  50. 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.
  51. Community is back, and back to being itself.
  52. Like Rick Grimes, all I can do is focus on what lies directly in front of me, and the here and now of The Walking Dead looks very good.
  53. The characters are so richly-drawn, and so wonderfully-played, that the exposition ultimately isn't that great a stumbling block. I wanted to know more about these characters, and within an episode or so was eager for any bit of backstory that helped better clarify all the relationships.
  54. It evokes "Oz" in a very, very good way: it doesn't feel quite like anything that's been put on television (if we're still calling Netflix "television") before.
  55. This is a good, solid show that understands its strengths and keeps playing to them in season 2.
  56. I expected to be tired of the joke behind The Wrong Mans within an episode or two. Instead, I found myself engrossed enough in the story of who wanted Sam dead at any particular moment, and why, to keep watching until I made it all the way to the end and could appreciate just how well Baynton, Corden and company stuck the landing.
  57. Thanks to the sharp writing of Warren Leight and a revelatory lead performance by obscure journeyman actor Holt McCallany, Lights Out is a reminder of why Hollywood keeps making boxing stories. Because when they're done well, they're irresistible.
  58. It's a treat to be back in this world again, and perhaps by the end of this season I'll feel happier about the crime arc than I did about the spy stuff.
  59. While Boss is a very promising drama with a great lead performance, it might be better off easing up a bit and just letting viewers appreciate Grammer's career-redefining work.
  60. The season's first two episodes aren't as consistently funny as last spring's best outings, but they do a good job of showcasing both the style of Bob's Burgers and the deep roster of characters the show has already assembled.
  61. 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.
  62. Based on the admittedly small sample size of two episodes, The Americans feels like it could very comfortably slot in with the upper tier of FX dramas. That's about as good as it gets.
  63. 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.
  64. Black-ish arrives as a comedy that knows what it's about, and how it wants to be about it in a very smart way.
  65. 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.
  66. Like several of the original "30 for 30" films, it gets hamstrung in spots by a particular filmmaking choice, the story itself is so strong, as are the recollections of the people who went through it, that I very much recommend watching.
  67. If Crossfire Hurricane doesn't offer much that's new, or tell a spellbinding story along the way, it still vividly captures how they became legends in the first place.
  68. With its huge cast (the new season also adds Ron Livingston as a businessman who romances Gretchen Mol’s Gillian) and sprawling world, Boardwalk Empire could suffer from that desire for more than plenty. Inevitably, though, it reveals itself as a show with a firm grasp on all these disparate people and places, and a clear sense of how to fit them all together.
  69. Over the 10 episodes of the new season, Tremé remains outstanding at what it sets out to do.
  70. It's a very promising start, at a minimum. The distribution model for House of Cards may be looking to reinvent how we watch TV, but the show itself feels very much of a piece with what we've been seeing for the last 10 or 15 years.
  71. Because the bond between them is so strong, all the show's disparate pieces - the filthy comedy and the desperation, the joy and the depression - hold together just as well.
  72. The actors all get their moments to shine, even if their stories don't always feel attached to one another
  73. If the show takes a while to warm up--and seems to hit certain character beats, like Thack's cocaine addiction, or his feelings towards rookie nurse Lucy Elkins (Eve Hewson), over and over again--it builds in the way you would hope a modern cable drama season would, and many of the repetitive earlier scenes wind up laying a foundation for major shifts in the season's second half.
  74. It's not an ambitious show. It doesn't have the historical sweep and dazzling visuals of something like HBO's upcoming "Boardwalk Empire." Yet in trying to tell good old-fashioned detective stories featuring a pair of leads I kept wanting to spend time with, it quickly joined "Boardwalk" as one of my two favorite new shows of this fall.
  75. It's clear and engaging and moving to this novice.
  76. If it were just a collection of well-choreographed explosions and gunfire, it would still be an entertaining watch. But there's a genuine effort made to show the impact of all this mayhem on both the men perpetuating it and the people who are witnesses and/or victims to it.
  77. We have two likable and funny guys and a lot of untapped material. That's an excellent start.
  78. 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.
  79. 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.
  80. The exhaustive nature of it, and the intimacy that Scorsese and his collaborators develop with both their subject and those who knew him, makes it into something more than a three-plus hour rehash of an oft-told tale.
  81. 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.
  82. The lighter and more optimistic tone is unexplored territory that could be tough to navigate at any speed. For the first hour, anyway, The Flash makes it look easy.
  83. Patrick is the only one of the three leads to come entirely into focus over these early episodes.... But there's some excellent raw material in here, even if at times I found myself admiring Looking more than I was liking it.
  84. Outlander is by far the best of these Starz costume dramas I've seen. It knows the stories it wants to tell and the strongest way to tell them.
  85. The ensemble works incredibly well together--in marked contrast to Selina's dysfunction, competitive staff--and there's a briskness and intelligence to the whole shebang.
  86. 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.
  87. The pilot itself is among the best you'll see this fall. It looks great, the two leads have instant chemistry, and everything hums along nicely as a slightly larger-than-life crime saga.
  88. [By the third episode] Review revealed itself to be something much more complicated, dark, and brilliant, in which the weight of all these viewer requests begins to take a horrific toll on Forrest's life.
  89. There's enough sincerity lurking convincingly beneath the snark, and Levy is so good in both aggressive and vulnerable modes, that I have faith the show will find a way to humanize Tessa's new environment while still bringing the laughs.
  90. It's a charming series that feels like it has a lot of potential for growth, and not just because its main character has nowhere to go but up.
  91. 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.
  92. Fuller and company do an impressive job of balancing Lecter's machinations, Graham's emotional problems, and the other killers that Graham and Crawford have to stop, in a way that never descends into formula.
  93. Overall, The Mindy Project is a comedy that arrives knowing what it wants to be and what kinds of stories and jokes it wants to tell.
  94. It is snappy, and funny enough when it needs to be.
  95. Beavis and Butt-Head are who they've always been, for ill or (comedically) for good. I'm glad to have them back.
  96. It fits the channel's larger brand (in both comedy and drama) about men existing on the edges of acceptable human behavior.
  97. It's a show with a much stronger command of its subject matter and awareness of its own strengths and weaknesses--even as The Bridge still seems to be stuck in that nebulous border region separating the pretty good from the genuinely great.
  98. It's the best new comedy of the fall season, and the only new show I genuinely enjoyed from start to finish, rather than having to squint real hard and try to picture what it might look like once the producers figure out what to do with their stars.
  99. It gets a lot of laughs out of life in the military while still demonstrating respect for the military and its soldiers, and genuine affection for its characters.
  100. The series' embrace of its narrative style, its creation of such an ominous world and its skill for generating suspense practically out of thin air are all very impressive.

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