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 1.8 points higher than other critics. (0-100 point scale)
Average TV Show review score: 67
Highest review score: 100 Louie: Season 3
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. This isn't the best four-episode stretch the series has ever had--as with most cable dramas, the ends of GoT seasons tend to be stronger than the starts--but there's a sense of real forward momentum to the proceedings that hasn't always been there in the past. Again and again, my pulse quickened as I watched these four hours.
  2. The treatment is serious, thoughtful, and an introductory triumph for this American Crime Story franchise.
  3. 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.
  4. Through seven of its eight hours (HBO didn't give critics the finale in advance), it's vital and gripping. It's not an imitator dressing itself up in the trappings of a classic HBO drama, but the real deal.
  5. It's one of the most purely funny shows on television--where many "comedies" are really dramas in half-hour form, and others are likable but rarely laugh-out-loud funny--and it's only more confident, sharp and very much its own thing in the new season.
  6. Orange remains as sharp and funny and poignant as ever.... It's one of TV's very best shows, no matter how you slice it.
  7. The second season may be even better than the first.... Here's an anthology miniseries follow-up that recaptures all that worked well in the original, even as it's forging its own identity.
  8. It's the show it was last year, but in many ways better.
  9. 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.
  10. It continues to be one of the most satisfying dramas in the history of the medium.
  11. 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.
  12. 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.
  13. 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.
  14. "Hannibal" is one of the very best shows on television. But it's also so extreme in depicting violence and its aftermath — even in this heightened fashion, and often with a dry, absurdist sense of humor about it — that it's not one I would insist every serious TV fan must watch.
  15. 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.
  16. 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.
  17. This is an amazing show, beautifully acted and simply beautiful to look at (early episodes this season were directed by Stephen Gyllenhaal, Lawrence Trilling, and Billy Gierhart), with a keen appreciation for faith and family and community that eludes even some of TV's more celebrated dramas.
  18. BoJack Horseman is somehow one of TV's funniest comedies and most affecting dramas all in one weird, addictive little package.
  19. This is a great show, which you might expect given the number of "Parks" veterans involved (including Mike Schur in a godfather capacity as one of the executive producers), but which still feels surprising given the show's clever structure and eagerness to embrace other perspectives.
  20. It's the best new TV show debuting anywhere this fall, by a long stretch.
  21. Each episode hits harder as a result [of the story told from the POV of only a specific subset of characters] while the narrative has gotten tighter. It's still a show defined more by emotion than plot, but structuring it this way--and moving most of the action to Jarden, which has many mysteries of its own--creates a sense of more momentum, rather than a bunch of characters wandering around in a daze.
  22. As the follow-up to an incredibly strong debut season, it's even more fun.
  23. It is entirely its own thing, and it is one of the very best shows on television. We're lucky to have it back.
  24. This doesn't feel like a factory product, but a work of individual, beautiful craftsmanship.
  25. ESPN's newest 30 for 30 film O.J. Simpson: Made in America proves to not only be better than The People v. O.J.--and among the best things ESPN has aired in its history--but a perfect complement to the FX show.-
  26. Many will hate it. But there will be viewers in whom it strikes a chord so deeply that they will feel themselves overwhelmed by it in the best possible way: not like they're drowning in the misery, but like it's teaching them a new way to breathe.
  27. 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.
  28. 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.
  29. 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.
  30. Normal is overrated. Give me whimsy, dreams and Evil Troy and Evil Abed any day. Give me extraordinary. Give me Community.
  31. Young's performance continues to be extraordinary, with a monologue late in the premiere all but guaranteed to raise the dust level in your home as you watch it. But it's a measure of the work McKinnon and the supporting actors have done in demonstrating how the smaller conflicts in the lives of Amantha or Ted Jr. or Tawney can be just as powerful (to them and to us) as Daniel's larger existential crisis.
  32. Terrific sketch comedy: absurd, inventive, surprising, and just damn funny.
  33. 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.
  34. Community is back, and back to being itself.
  35. Those who stayed patient with Halt season 1, or those who come to the show now that the quality has gone up significantly, will be rewarded.
  36. As with the first season, the stories keep tiptoeing up to cliché before shuffling into more interesting and complicated emotional territory.
  37. It would be easy for all this reinvention to feel jarring, or like Halt desperately racing from one idea to the next because the last one ran out of steam. But each transition has felt natural, earned, and of a piece with what came before.
  38. Last summer, the show's quality was a surprise because of what it was about and where it aired. Now, UnREAL isn't surprising. It's just thrilling.
  39. Fey and Carlock have delivered basically the same show they did a year ago. Given how great that original NBC version was, I can't really complain. If your biscotti recipe is already deliciously weird, why change the ingredients?
  40. Almost every scene demands that the viewer asks why it was presented in that particular fashion--not in a way that distracts from the narrative, but only helps convey the themes of the piece. And as the series jumps ahead to 1901, it's becoming more ambitious in those themes and its articulation of them.
  41. 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.
  42. The good news is that nearly everything that went wrong last season goes right at the start of this one. ... "Justified" is again fun and scary and thrilling.
  43. Crazy Ex-Girlfriend has only gotten better, more confident, and more consistent as it's moved along. It knows exactly who its heroine is, what she's good at and what makes her terrifying, just as well as it has very quickly and appealingly figured out how to turn any potential weaknesses into additional strengths.
  44. It's essentially a six-hour lecture on zoning regulations, municipal codes, and why integration remained such a thorny issue long after the civil rights era of the '60s. But if it's a lecture, it's an engaging, emotional, and surprisingly light on its feet one.
  45. I came into the series expecting a raunchy black comedy, and got that, but with the added bonus of something achingly beautiful when it wanted to be.
  46. The sheer number of colorful characters maneuvering keeps things lively.
  47. 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.
  48. It's an experiment, and one with some rough edges. But Alda, Falco, and Buscemi are powerhouse dramatic actors, and C.K. makes a good reactive foil to them. The first episode (which runs slightly over an hour) feels like such a self-contained story that I have no idea what later installments will be about, or feel like, but I can't wait to see them, whenever they happen to appear.
  49. The first episode, at least, is terrific, with a distinct, involving tone, and it does very right by its leads.
  50. Casual still stands out among this group [of lo-fi dramas] because the writing and performances are so specific and so smart that it doesn't feel like a spin-off of six other shows.
  51. It's clear and engaging and moving to this novice.
  52. 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.
  53. Along the course of these six episodes, the show touches on various rom-com tropes about disapproving parents (Carrie Fisher is, as always, a treat as Rob's cynical mother), secret meetings with exes, bachelor and bachelorette parties that spin out of control, etc. But they're all dealt with in such a specific and simple way that they feel unique to these characters and their world, rather than the obligatory stumbles on the path to a happy ending.
  54. 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.
  55. The show has a keen, charming grasp of the way parent-child relationships can sometimes fluctuate between screaming and hugging with no transition in between, and some of the most effective Better Things moments are brief cutaways to quiet times amidst the fighting, or vice versa.
  56. As with Notaro's deadpan affect, the show seems to be holding itself in reserve and refusing to engage, yet the impact--on both the serious and silly sides--ultimately lands just as sharply as one of the punchlines from Notaro's act. It's all easygoing until it's anything but.
  57. It's a smart, beautifully mounted, and at times very moving production.
  58. The season's first two episodes confirm everything that was obvious by the end of last year: Jimmy's doomed attempt to play things straight and not go back to his con man Slippin' Jimmy ways is much too fertile an area to be abandoned so quickly. It feels like a creative choice rather than a commercial one (as opposed to all those times Dexter Morgan managed to evade the brilliant investigators at Miami Metro because his ratings were too high), and the choice plays out in fascinating ways early in Saul season 2.
  59. It's still Homeland, and it's good.
  60. This is a very smart show about incredibly smart people, and it's only gotten better as it's gone along.
  61. The deeper you go, the more powerful The Returned gets.
  62. "The Jinx" is an utterly compelling watch. Through the two episodes I've seen, it's chilling, emotional and occasionally morbidly funny and moves at a thrilling pace.
  63. Again and again, the show toggles between shock humor and sentiment like the two are the most natural fit in the world. Tonally, the show's a miracle, on top of just being balls-out funny.
  64. This is easily the best of Marvel's three shows so far, and quickly moves towards the front of the overall superhero TV pack.
  65. [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.
  66. It's a show that stands entirely on its own while never forgetting the series that inspired it.
  67. Two episodes (one of which many of you may have seen) isn't a big sample size to judge whether Mr. Robot will avoid the sophomore slump. But they're a very promising start, and a continuation of all that made the series so fascinating a year ago.
  68. Over the 10 episodes of the new season, Tremé remains outstanding at what it sets out to do.
  69. 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.
  70. 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.
  71. The second time I watched The Last Man on Earth, I laughed a lot, but I found myself taken by the way that the stillness in the landscape and the stillness in one side of Forte's performance also accentuate a sadness and humanity. Forte's line readings make the most of every word, but he pulls mirth and misery in the same breath.
  72. If Atlanta is a surprise, it's frequently an excellent one.
  73. 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.
  74. 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.
  75. Along with FOX's "Last Man On Earth," Fresh Off The Boat is one of the best new network comedies of the spring and both are probably better than any network half-hour--allowing for "Jane the Virgin" genre wiggle-room here--that debuted last fall.
  76. 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.
  77. 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.
  78. 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.
  79. As a drama, Banshee is preposterous. It is ludicrous. It regularly defies laws of both plausibility and physics, and there's usually at least one moment per episode where I have to pause the action because I can't stop laughing at how ridiculous it all is.... And that is why I've come to love it.
  80. Silly or sober, Louie is one of the best shows on television.
  81. It's a perfect marriage of creative team, channel and subject.
  82. Jessica Jones is unlike anything Marvel or DC has tried in the live-action realm, and it's excellent.
  83. The stories are told with such intimacy, such empathy, and such attention to detail, that it transcends labels and generalities. It's the story of these specific people, exceptionally small, but also exceptionally told.... This was a terrific show last year, it's even better this year.
  84. The season as a whole is terrific, and comes very satisfyingly full circle with all of its stories, but you might want to give the first two episodes a try tomorrow and then loop back later to watch the rest in a smaller window.
  85. This is an absolute: Top of the Lake is great.
  86. 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.
  87. 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.
  88. I'm reluctant to praise Togetherness too much, because the smallness of the story and the performances doesn't really work well with overhype.... But it's a really well-executed version of what it is.
  89. 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.
  90. 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.
  91. 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.
  92. 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.
  93. In season two, the strengths of Treme remain strengths, while some of the show's weaknesses have been much improved.
  94. It's so small and spare and simple, and yet it can be incredibly effective at what it does. Nice to have it back.
  95. 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.
  96. The Honorable Woman is really a thriller and, at its best, it's on a level with something like "Homeland" at its best.
  97. 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.
  98. 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.
  99. The three episodes FOX sent to critics are impressively well-balanced, not to mention coherent by Empire "standards."
  100. 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.

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