People Weekly's Scores

  • TV
For 1,018 reviews, this publication has graded:
  • 57% higher than the average critic
  • 14% same as the average critic
  • 29% lower than the average critic
On average, this publication grades 3.9 points higher than other critics. (0-100 point scale)
Average TV Show review score: 68
Highest review score: 100 The Dust Bowl: Season 1
Lowest review score: 16 Fear Factor: Season 1
Score distribution:
  1. Mixed: 0 out of 738
  2. Negative: 0 out of 738
738 tv reviews
  1. Up All Night is adorable without being cute. [3 Oct 2011, p.41]
  2. Boardwalk is still solid, but it's sacrificed some of its nervy power. [10 Oct 2011, p.40]
  3. The talent is good, and on the long road to announcing a top 16, the show expertly milking every drop of pathos. [24 Oct 2011, p.39]
  4. The show is a quietly intriguing, informative study of assimilation, identity and community. [21 Nov 2011, p.40]
  5. This could grow into a show of more than ordinary interest. [28 Nov 2011, p.57]
  6. This Victorian-era prequel to Peter Pan works. [12 Dec 2011, p.48]
  7. Luckily the characters are so fully formed, and so fully inhabited by the cast, that the whole mess staggers up out of the trenches and keeps going. [9 Jan 2012, p.39]
  8. It takes a few half-hour episodes before the tone gels. [16 Jan 2012, p.39]
  9. A solid, well-done series. [19 Jan 2012, p.42]
  10. There's always a laugh or two. [30 Jan 2012, p.44]
  11. It's fun sport. [30 Jan 2012, p.44]
  12. Girl has a surprisingly casual sense of humor and Anna Silk is physically just right in the lead role. [13 Feb 2012, p.45]
  13. The humor is so lighthearted, the show practically skips. [20 Feb 2012, p.48]
  14. A tricky show with serious potential. [5 Mar 2012, p.45]
  15. This bifurcated character--Mother of the Year meets Jack Bauer--isn't always believable, but Judd welds the two Beccas together through sheer willpower. [19 Mar 2012, p.41]
  16. The one great redemptive asset--and it's significant--is Kiefer Sutherland. [26 Mar 2012, p.41]
  17. The humor has a light, convivial burble. [26 Mar 2012, p.45]
  18. The story is promising. [9 Apr 2012, p.42]
  19. Scandal is about as realistic as Mamie Eisenhower Witch Hunter but it has so much headlong energy, you may not care. [9 Apr 2012, p.40]
  20. The jokes hop all over the place but the show, like Chloe, is refreshingly wild. [16 Apr 2012, p.49]
  21. The show is gentle, winning and sympathetic. [7 May 2012, p.48]
  22. If the show's isn't terribly ambitious to break new ground, it's a nice lull. [11 Jun 2012, p.42]
  23. The show is still crazily entertaining. [11 Jun 2012, p.41]
  24. Gilmore creator Amy Sherman-Palladino gives her actors a zip drive's worth of dialogue....Foster's got the mouth--and charm--to pull it off. [18 Jun 2012, p.43]
  25. Their white collar cases aren't always riveting but as summer fares goes, hot guys and Manhattan backdrops are a reliably escapist combo. [25 Jun 2012, p.47]
  26. The Soul Man isn't great, but it's the best sitcom yet developed for TV Land. [2 Jul 2012, p.40]
  27. If it doesn't have the ABC sitcom's [Suburgatory's] satiric sheen, it captures some of those glum patches that strike in adolescence. [2 Jul 2012, p.38]
  28. Season 2 of the Hollywood satire still plays too broad, [...] But Matt LeBlanc's understated performance as himself has gotten even better. [9 Jul 2012, p.36]
  29. About Face addresses some deeper implications--Gia Carangi's early death is a cautionary tale--but knows better than to over do it. [6 Aug 2012, p.39]
  30. This air of finality throws the many small, fine details of Parker's performance, the main reason for the show's existence, into sharp relief. [13 Aug 2012, p.42]
  31. The show is cleverer than you'd expect. [20 Aug 2012, p.41]
  32. The melodrama of it all is tasty--a jumbo macaroon. [27 Aug 2012, p.43]
  33. Kane's visions aren't done with originality, but Grammer's performance is still powerful. [27 Aug 2012, p.48]
  34. The Inbetweeners is a companion to the network's hit Awkward. And equally funny. [27 Aug 2012, p.48]
  35. The color, pace and performance are vibrant, often crazily so. [10 Sep 2012, p.39]
  36. Branagh is very fine as Wallander. [10 Sep 2012, p.40]
  37. The overall mythology is sprouting nicely thorny tendrils. [10 Sep 2012, p.42]
  38. The show is a birdhouse full of woodpeckers. [24 Sep 2012, p.54]
  39. This new series is a bold military thriller. [8 Oct 2012, p.60]
  40. The high school stories are tighter-focused, and the Manhattan ones breathe with Broadway romanticism. [5 Nov 2012, p.42]
  41. The show works and it's fun. [12 Nov 2012, p.43]
  42. I'll take Hour's rather sour worldview--deadlines in deadly times--over the grand uplift of HBO's The Newsroom. In a nanosecond. [3 Dec 2012, p.44]
  43. 666 Park Avenue remains good Gothic Trash. [26 Nov 2012, p.44]
  44. Girls can still be Girls. [21 Jan 2013]
  45. An entertainingly sinister dip in the cesspool of 19th century criminality. [21 Jan 2013]
  46. This provocatively, almost boisterously violent thriller bolts into action with a clever premise and sustains it with good, unexpected jolts. [28 Jan 2013, p.43]
  47. [Larry Hagman's last days on the show don't] keep Dallas from being robust fun. [4 Feb 2013, p.42]
  48. It's tense, engrossing, mildly ludicrous--and worth checking out before the Cold War melts. [11 Feb 2013]
  49. History's first scripted series is a headlong tumble into an irresistible and surprisingly neglected genre. [18 Mar 2013, p.41]
  50. Preachers' Daughters, focusing on three families headed by ministers, has its hearts in the tight place. [18 Mar 2013, p.42]
  51. The acting is good, especially Bill Skarsgard and Landon Liboiron.... I like the show's languid, dreamlike beauty, but horror fans may be less patient. [22 Apr 2013, p.47]
  52. A lovely piece of work. [6 May 2013, p.49]
  53. [Rectify] feels damply airless--the tension might be ripped open at any moment by a thunderclap of revelation.... It's a disturbing, impressive performance [from Aden Young as Daniel]. [13 May 2013, p.49]
  54. Motive isn't ingenious enough to motivate imitations or spinoffs, but it's smooth and diverting. [27 May 2013, p.40]
  55. It wouldn't hurt to pick up the pace, but Graceland is a successful move toward true grittiness. [3 Jun 2013, p.43]
  56. Somehow the premiere hour fills in all this background without getting lost and--more importantly--with sincerity and sensitivity. [10 Jun 2013, p.50]
  57. A smoothly executed vehicle for Rebecca Romijn and Jon Tenney, it knows exactly what it's doing, [16 Jun 2013]
  58. The pilot establishes an eerie claustrophobic dread, and well-budgeted special effects add intensity. [1 Jul 2013, p.35]
  59. A fun buzz. [1 Jul 2013, p.36]
  60. An attractive, multi-accented cast and far-flung locales make it worth the trip. [1 Jul 2013, p.36]
  61. Allen is one of the fall's freshest finds. But all the best punch lines in the hilarious pilot came right out of his "Men Are Pigs" stand-up routine. With the writers out on their own, the humor seems to be thinning out.
  62. The jokes are, for the most part, more clever than funny.
  63. If the producers can keep the mood spooky, this show will have its devoted adherents. Deservedly so.
  64. The show's saving grace is that as the weeks go by, the characters begin to grow on you. That has more to do with the actors' animation than it does with the rimshot writing.
  65. That premise could make for a crisp and slick adventure hour; it did in the pilot. Already, though, Fahey's character is losing definition because of a string of unfocused scripts.
  66. Trading on a paranoid, conspiratorial tone that recalls The Prisoner and MTV's Dead at 21, the show is jumbled but jazzy.
  67. The show's weakness is a negligible supporting cast, particularly Diedrich Bader and Ryan Stiles.
  68. The show needs work-—why all the breast jokes?-—but [Lithgow and Curtin] don't.
  69. A pallid imitation of The Larry Sanders Show, the series works best when its real-life guests are funny.
  70. The badinage with his wife plays nice and easy, like Home Improvement, while that with his parents and brother across the street has more of a Seinfeldian silliness.
  71. The opener mostly succeeds in maintaining a tone that's more racy-adult than naughty-juvenile. The only element that doesn't mesh is the character of Alley's father.
  72. No doubt about it: Jenna Elfman and Thomas Gibson are cute together. ... We will grow tired, though, if the writers don't eventually get beyond the stereotypes or if Dharma and Greg resolve every dispute by having fabulous-—and cute-—sex.
  73. The '70s Show has a jarringly '90s slacker sensibility. Still there are some very funny moments.
  74. The show needs to guard against the cutesies ... and allow both principals to do more than talk about their sex lives.
  75. We're betting that with experience, this inconsistent show can find a way to win.
  76. Not too original, but the cast makes this King more than a commoner.
  77. Crass Peter's couch-potato tendencies give MacFarlane the pretext for one quick TV spoof after another, and some of them are hilarious. I find these satirical flights far funnier than the frustrated schemes of Stewie Griffin, a sinister baby bent on world domination.
  78. Given that there's no earthly reason for Angel besides the sex appeal of David Boreanaz, it looks like a pretty good show.
  79. There's nothing subtle about the physical comedy in the pilot, as Bette visits a cosmetic surgeon and takes a stab at strenuous exercise. But "broad" is a term Midler has always been comfortable with.
  80. This new college comedy isn't quite in the same class [as Freaks and Geeks], but it captures the atmosphere of the dormitory as minimum-security madhouse.
  81. Though overequipped with distracting extras—-flashes of fantasy, slapstick sound effects—-this dark comedy definitely grows on you.
  82. Garner has an appeal that transcends implausibility.
  83. This is probably not a clinically accurate portrayal of an OCD sufferer, but Shalhoub's gentle earnestness keeps it from being gimmicky.
  84. Taut and stylish.
  85. At its best, the show is outrageous and hilarious at once.
  86. It's more fun than most hidden-camera shows: Kutcher keeps his in-your-face energy from boiling over into obnoxious-ness.
  87. Joe Mantegna and Mary Steenburgen are fine as Joan's parents, but the series shouldn't go out of its way to play up the dad's role as small-city police chief. Keep the emphasis on God's plan, not man's law.
  88. The series that strains our nerves and our credulity returns with more hour-by-hour suspense, and amazingly it still works.
  89. Hilariously peculiar.
  90. Once you grow accustomed to the trash talk, however, the series draws you deeper and deeper into a little world where the law holds no sway and right is trodden in the mud.
  91. For all its "look what we can get away with" grandstanding and scalpel-sharp wit, Nip/Tuck succeeds best when it deftly pierces the heart.
    • 69 Metascore
    • 75 Critic Score
    If you automatically expect a new HBO series to be edgy or innovative, you'll be disappointed in this one. It's basically just a sitcom—but it has the advantage of being funny.
  92. Though Tommy's conversations with Jimmy seem like a glib gimmick, Rescue Me redeems itself with rough firehouse humor and a realistic depiction of the emergencies faced by the crew.
  93. Grabs you so forcefully that you won't shake free even when the drama strains credulity.
  94. So cheeky, sexy and alive that you can't help enjoying it.
  95. Shatner has a ball playing a paragon of inappropriate behavior and lends the egocentric character a surprising touch of poignancy in his rare moments of introspection. But it's going to be tricky finding the right balance between Shore and Crane while allowing each to stay in touch with his inner devil.
  96. House stands out on the strength of its misanthropic main character.
  97. You may well have misgivings about yet another season for this show, particularly with Haysbert out of the picture. ... But the plot, which involves the abduction of a high government official, will absorb viewers once again.
    • 62 Metascore
    • 75 Critic Score
    Devotees are probably poised to dismiss the adaptation out of hand, but I found enough funny business here to overcome my sales resistance.
  98. In its second season this gritty frontier drama still boasts the most colorfully eccentric ensemble of any show on TV. But Al Swearengen, the malignly glowering saloon boss, played to the hilt by Golden Globe winner Ian McShane, is first among equals.

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