Orlando Sentinel's Scores

For 360 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 3 points lower than other critics. (0-100 point scale)
Average TV Show review score: 62
Highest review score: 100 Curb Your Enthusiasm: Season 6
Lowest review score: 0 The 1/2 Hour News Hour: Season 1
Score distribution:
  1. Mixed: 0 out of 154
  2. Negative: 0 out of 154
154 tv reviews
  1. Remains one of TV's best sitcoms. [19 Jul 1995]
    • Orlando Sentinel
  2. Adult, hard-hitting and tough-talking, Murder One represents the apex of TV series production. Everything is first-rate, from the writing and acting to the photography and music.
  3. I'll grant you the Soprano family story is vividly told and colorfully acted, but the mob intrigue can be grim, disturbing and tiresome. [16 Jan 2000]
    • Orlando Sentinel
  4. The show steadfastly avoids romanticizing characters who are repellent, violent and selfish, and it offers a dark, unsparing vision of family life. [4 Mar 2001]
    • Orlando Sentinel
    • 96 Metascore
    • 100 Critic Score
    Twin Peaks is like the horrific, teasing fever nightmare that takes you to the head of the darkened staircase and throws you off, leaving you frozen in midflight at an exquisite peak of terror and wordless exhilaration. [8 Apr 1990, p.G1]
    • Orlando Sentinel
  5. The Sopranos unfolds at a more absorbing and imaginative level than TV's strongest series, from ABC's Lost and Grey's Anatomy to Fox's 24 and House.
  6. The Wire doesn't receive the attention of other HBO dramas, but it should. It often surpasses them in the chances it takes and the stories it tells. [1 Jun 2003]
    • Orlando Sentinel
  7. Even viewers who feel they've been copped and robbered to death by TV will find this highly juiced blend of bright writing and dark motif hard to turn off.[31 Jan 1993, p.D1]
    • Orlando Sentinel
  8. A master showman, Ryan hooks the audience with an opener that makes seeing the second episode mandatory... The early episodes hint at the great potential of the supporting cast. Catherine Dent is touching as a policewoman who rues her past with the married Mackey. Michael Jace exudes a fine air of mystery as a rookie officer. And Walton Goggins fidgets compellingly as Mackey's uneasy conspirator. [12 Mar 2002, p.E1]
    • Orlando Sentinel
  9. The Simpsons hasn't lost an ounce of vinegar or chutzpah. [11 Oct 1990]
    • Orlando Sentinel
  10. The Corner, which is more daring than "The Sopranos," deserves some of the critical hosannas showered on the mob series. [16 Apr 2000, p.F1]
    • Orlando Sentinel
  11. A warning: Once hooked, you'll be with the show to the end. [30 May 2006]
    • Orlando Sentinel
  12. There's no contest for the outstanding new series this fall. NBC's Boomtown looms over the competition like a giant surrounded by mostly pygmies. [29 Sept 2002, p.4]
    • Orlando Sentinel
  13. Last summer's best series was FX's Rescue Me, a daring comedy-drama about New York City firefighters. It's a good bet this imaginative, adult show will repeat as the top series this summer. In its second season, which begins Tuesday, the program has lost none of its nerve or verve.
  14. The first four hours confirm that 24 remains powerfully addictive.
  15. Despite some amusing bits involving the parents, there's a major problem: Arrested Development isn't especially funny. That's the one asset every successful sitcom must have. [2 Nov 2003, p.4]
    • Orlando Sentinel
  16. In a tepid era for sitcoms, this risk-taking series can astonish. [8 Sep 2007]
    • Orlando Sentinel
  17. A hugely likable sitcom is born.
  18. Everything about this world is more richly, deeply textured than our own, from the ornate (not luxurious) furnishings to the ornate people. [20 Sep 1991]
    • Orlando Sentinel
  19. This wonderful film avoids turning stilted or self-important.
  20. A rousing thriller loaded with nifty gimmicks and head-spinning twists. [6 Nov 2001]
    • Orlando Sentinel
  21. This quirky comedy-drama stands out as one of the real pleasures among the 35 new series...It is funny, but also tender and nostalgic. This is one homecoming dance you don't want to miss. [25 Sept 1999, p.E1]
    • Orlando Sentinel
  22. Inspired comedy springs from the smallest things. [3 Jan 2004]
    • Orlando Sentinel
  23. The vintage look carries a potent, contemporary kick. Here's the rare series that lives up to the advertising hype.
  24. The irreverent comedy manages to be affectionate, thanks largely to Kaczmarek, who plays the mother with wisdom and sass. [9 Jan 2000]
    • Orlando Sentinel
  25. The series has some potent black humor and good acting, especially from Nancy Marchand as the mobster's mom and Edie Falco as his wife...But a gangster's midlife crisis is a weak, unpalatable premise for a series. The Sopranos makes an offer you can refuse. [10 Jan 1999, p.F1]
    • Orlando Sentinel
  26. A show so mesmerizing it can make you feel young again, Felicity pulls off that feat without special effects or time-travel machines...This new series has other assets: poignant writing, superb actors, recognizable situations. [29 Sept 1998, p.E1]
    • Orlando Sentinel
  27. What we have here is a love story, a lawyer show, a man-goes-home plot and a small-town celebration rolled into one. Look closely and you'll see bits of Providence, L.A. Law, Northern Exposure, The Andy Griffith Show and other series in the mix...But what might have been derivative becomes fresh and charming through deft execution. [8 Oct 2000, p.F1]
    • Orlando Sentinel
  28. Not knowing the characters better and not being able to tell them apart are constant hindrances. Weak on the human dimension, Band of Brothers adds up to a punishing experience. [9 Sept 2001, p.4]
    • Orlando Sentinel
  29. The Pacific balances the visceral virtuosity of its war sequences with poignant, stirring portraits. Once you sign on, you have to see what happened to these men--the sign of expert storytelling. An epilogue supplies crucial updates.
  30. The show echoes everything from Gilligan's Island to King Kong. But the parts have been assembled with a flair that makes Lost a genuinely eerie experience. [22 Sept 2004, p.E1]
    • Orlando Sentinel
  31. Daring and raw, FX's Rescue Me takes astonishing risks.
  32. Richer and more challenging than any new series this fall from broadcasters.
  33. One of the better-assembled new series this fall. The comedy forgoes a laugh track and a studio audience in favor of a wonderfully true-to-life feel and unforced humor. [25 Sept 2001, p.E1]
    • Orlando Sentinel
  34. The premiere should please fans who consider Battlestar Galactica a landmark and entice newcomers to look at previous seasons on DVD.
  35. You couldn't wander in at this point and not be lost. Yet here's one series worth catching up with on DVD.
  36. Dense, dark and disturbing, the new crime drama requires that attention - total attention - be paid to a bunch of unsavory characters. Many viewers will deem it an offer they can refuse. Yet patience pays major rewards, for EZ Streets holds surprising fascination. [27 Oct 1996]
    • Orlando Sentinel
  37. The problem is that it's difficult to get into this series' awkward rhythm as it bounces from comedy to drama. A weak, out-of-place laugh track doesn't help. [22 Sept 1998, p.E1]
    • Orlando Sentinel
  38. In the fine supporting cast, Norris' blustery brother-in-law grows increasingly important. Yet it's still Cranston's show--he also directed the season premiere--and it's a landmark performance.
  39. Despite the Palin raves, Fey saves her best for this witty show.
  40. The opening two hours of season two suggest that 24 has lost none of its style or energy. It remains television's most exciting series. [29 Oct 2002]
    • Orlando Sentinel
  41. No matter how The Tick fares, Warburton is giving a show-stopping, larger-than-life performance that should send his career zooming. Stand back and watch him go for as long as he can.
  42. Wise's acting is the most awesome asset.
  43. There are few answers in this excellent premiere, but The Nine makes you want to find out.
  44. ABC's new version of A Raisin in the Sun deserves fanfare: It's a strong contender for best TV movie of the season.
  45. Extraterrestrials are communicating through the young. But what do the visitors want? The answer and mankind’s response transform Children of Earth into an epic that should bring Torchwood to a wider audience. (The miniseries, a high point for summer television, will be available on DVD July 28.)
  46. The comedy is diverting enough, but the poignant drama makes Gilmore Girls special. This series may not fit conventional expectations for family drama, but the show succeeds on that turf anyway. Isn't that what television desperately needs: more family programming? [5 Oct 2000, p.E1]
    • Orlando Sentinel
  47. The series retains its challenging, jumping-through-time storytelling.
  48. As Veronica, Bell delightfully plays the clash between sarcasm and sweetness. The actress, who appeared in Deadwood, is one of the most valuable performers this fall. As her struggling detective father, Enrico Colantoni displays more charm than he ever did on Just Shoot Me. [22 Sept 2004, p.E1]
    • Orlando Sentinel
  49. Elfman has the power to bewitch America without wiggling her nose. [24 Sept 1997, p.E1]
    • Orlando Sentinel
  50. Generation Kill stands in the tradition of classic war movies. Vivid storytelling, superb acting and a frank approach make this a TV landmark.
  51. The bonanza of off-color dialogue makes Deadwood a hard sell: Who knew the Wild Wild West could be such a joyless place? [21 Mar 2004, p.4]
    • Orlando Sentinel
  52. The results are mighty ragged in the series opener. The show takes strange shifts in tone, the dialogue isn't campy enough, and the violence grows tiresome.
  53. Torchwood enlivens Saturdays, which has become a desert for viewers.
  54. Ingenious, charming, offbeat and playfully R-rated - surely, this is why God created cable. [1 July 1990, p.F1]
    • Orlando Sentinel
  55. This is almost exactly the same premise as Fox's hideously unfunny Daddy Dearest. What a difference a script makes. [16 Sept 1993, p.E1]
    • Orlando Sentinel
  56. The epic fantasy series is lavish, violent and often quite nasty. Most crucially, this adaptation of George R.R. Martin's "Song of Ice and Fire" book series is unnecessarily difficult to follow.
  57. It is not enough to say that Desperate Housewives is the best new series of the fall. In a season of forgettable sitcoms, the hour show is the funniest newcomer. In a largely predictable lineup, it is a shrewd mystery with involving twists. In a medium that often shortchanges women, it is a grand showcase for accomplished actresses. [1 Oct 2004]
    • Orlando Sentinel
  58. The show comes off as too hectic, too cute, too edgy and not especially funny. [2 Oct 2001, p.E1]
    • Orlando Sentinel
  59. Expert casting deepens this version. Without stars as these youthful Dashwood sisters, the men are on equal footing.
  60. This time around, 24 keeps a tighter focus on Bauer so that plot should play out with more credibility than last season's sprawling adventure.
  61. I lost count of the laugh-out-loud lines in tonight's special one-hour premiere that makes you wish for an hour every week. [20 Aug 1990, p.C1]
    • Orlando Sentinel
  62. The drama series is well-acted, smoothly produced but surprisingly resistible. Sorkin writes bright dialogue and juggles fast-moving plots, but his White House intrigue and staffers aren't that compelling. [22 Sept 1999, p.E1]
    • Orlando Sentinel
  63. In Joan of Arcadia, the inspiration creeps up on you, the plot pieces fall effortlessly into place. This miraculous drama is the one new show not to miss. [26 Sept 2003, p.E1]
    • Orlando Sentinel
  64. It's laudable that the show goes without a laugh track and studio audience. Going without appealing characters, however, is foolhardy.
  65. Though slickly photographed, Gideon's Crossing is a rickety star vehicle. Braugher doesn't have much support from the musicians, the writer or the supporting actors. [10 Oct 2000, p.E1]
    • Orlando Sentinel
  66. The results in the season opener aren’t surprising, but they unfold in a satisfying way.
  67. The production, based on David McCullough's biography, unfolds as a lavish, sometimes stilted history lesson. The private story of the Adams family is more intriguing and fresh.
  68. You don't have to love football to admire Friday Night Lights.
  69. Jason Lee excels as scruffy Earl -- he's a Jed Clampett for the new millennium.
  70. Grey Gardens is thoughtful and swank but ultimately mediocre. Two actresses in top form are required to put this story across.
  71. Roswell works so well because writer Jason Katims (My So-Called Life) has a deft touch. He based the show on a series of books by Melinda Metz. He taps into teen angst without going mushy, he writes humor without turning sophomoric, and he arranges tense situations without reaching. [6 Oct 1999, p.E1]
    • Orlando Sentinel
  72. The whole cast works at a fierce level.
  73. The House-Wilson scenes bristle with edge and anguish. Their interplay builds through the hour to a staggering scene, one of the strongest in the show's history.
  74. Wit and glamour sell this top-quality product.
  75. The risk-taking humor is a refreshing throwback to "All in the Family" and "Maude."
  76. Abrams directs stunning action scenes, and he develops a shadowy world of long-term potential. Garner manages to keep the show involving in the sillier moments, such as when Sydney dyes her hair loud red and goes off to settle scores single-handedly...Garner plays this conflicted heroine with poignancy and grit. [30 Sept 2001, p.4]
    • Orlando Sentinel
  77. Smallville is a brawny beauty in a fall packed with new series that are mostly insipid weaklings. [16 Oct 2001, p.E1]
    • Orlando Sentinel
  78. This juicy comedy-drama recaptures the fun of Desperate Housewives in its first season.
  79. Darker and more adult than the campy Buffy, Angel works like a detective series with supernatural overtones: Raymond Chandler meets The X-Files. [5 Oct 1999, p.E1]
    • Orlando Sentinel
  80. A legal thriller with the depth and structure of an engrossing novel.
  81. [A] pleasant sitcom ... The bawdy asides sound witty rather than smutty, and the show has been shrewdly assembled. [20 Sep 1998]
    • Orlando Sentinel
  82. Without a Trace uses the gimmick of having the missing person drop in and out of scenes like a ghost as the agents ponder evidence. The device sounds hokey; the way it works, it's stylish and involving. [26 Sep 2002]
    • Orlando Sentinel
  83. Unfortunately, the scripts put the stricken through such horrendous suffering that the show becomes an endurance test for the viewer. [14 Nov 2004, p.3]
    • Orlando Sentinel
  84. Even if you know Jane Eyre, you don't know her like this.
  85. Shalhoub, who's a producer on the show, stamps his character with a wonderful mix of poignancy and humor. [7 July 2002, p.4]
    • Orlando Sentinel
  86. Like "Northern Exposure," Maximum Bob is one summer series worthy of the regular season lineup. It's just too good and too clever to last one summer. Maximum Bob deserves a maximum run.
  87. The unhappy Fishers are unlike the unhappy Sopranos in a crucial way: They become less interesting as Six Feet Under unfolds in the first six episodes. And that is the kiss of death in television. [3 June 2001, p.4]
    • Orlando Sentinel
  88. Few new sitcoms this fall provide more pleasure. Or more identifiable humor. [13 Sep 1996]
    • Orlando Sentinel
  89. Too earnest, talky and hackneyed. [4 Mar 1997]
    • Orlando Sentinel
  90. Here is one of the finest new shows of a dismal season. [4 Jan 1993]
    • Orlando Sentinel
  91. Traffic: The Miniseries is ambitious and adult in ways that put most broadcast miniseries to shame. It unfolds with such potent grittiness that it seems, at times, like a documentary. The cast contains many actors who aren't familiar faces on television, so the script's frequent twists pack even more punch. [25 Jan 2004]
    • Orlando Sentinel
  92. Chases, stunts and explosions fill the funny, flashy adventure.
  93. This extreme drama often astonishes with its scathing take on American vanity...Nip/Tuck is an intense, adult show with complex characters and jaw-dropping twists.
  94. Above all, Arli$$ succeeds because it has a sharp point of view and a subject worth lampooning. It might not be in the same league as The Larry Sanders Show but give it time. It definitely has the look of a winner. [10 Aug 1996, p.E1]
    • Orlando Sentinel
  95. Cinema Verite is short (not even 90 minutes), smooth and brisk.
  96. This vivid series puts an ironic spin on nostalgia.
  97. The adult show supplies shocking twists. The tone ranges from passionate to campy to scary.
  98. Swift and smart, Murder One is a true guilty pleasure. You won't find many on TV this season. Indulge yourself. [10 Oct 1996, p.E1]
    • Orlando Sentinel
  99. This amusing series is likely to leave you smiling rather than guffawing.

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