People Weekly's Scores

  • TV
For 1,027 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 4.1 points higher than other critics. (0-100 point scale)
Average TV Show review score: 69
Highest review score: 100 The Walking Dead: Season 1
Lowest review score: 16 Fear Factor: Season 1
Score distribution:
  1. Mixed: 0 out of 747
  2. Negative: 0 out of 747
747 tv reviews
  1. A looser show [than The Office], another comedy of frustration, but with a feckless sweetness (which is exactly what My Name Is Earl lacks). [17 Oct 2005, p.39]
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  2. The tone here can be offputtingly strange: brittle, flinty yet over the top. [20 Feb 2006, p.37]
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  3. An explosion of fireworks. [1 May 2006, p.39]
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  4. The show's fun, and a little freaky. [2 Oct 2006, p.45]
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  5. [A] delicious over-the-top comedy. [2 Oct 2006, p.45]
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  6. If you want edge, here's Dexter. [9 Oct 2006, p.41]
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  7. This could be the fall's finest drama. [9 Oct 2006, p.41]
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  8. The relationship of saint to sinner has seldom been so moving. [26 Feb 2007, p.39]
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  9. The show falls prey to a faint preciousness in the voiceover narration from its correspondents and host Glass. They overarticulate the ironies instead of just letting you watch. Which you should do. Watch. [26 Mar 2007, p.37]
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  10. Paxton's supported by a vast cast of vivid characters waging holy battle while chasing the almighty dollar. [11 Jan 2010, p.41]
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  11. It's the jungle version of Saving Private Ryan's opening battle, over and over across 10 hours. Why, then, is this so excitingly powerful instead of just numbing? Because the stakes are huge: The historical momentum pulls you in and drags you along.
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  12. Season 4 launches with an episode focused on TV's most mysterious ad executive-and since Jon Hamm's watchful yet charismatic performance makes the show tick, that's excellent.
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  13. Eclipsing even last summer's BBQ bacchanal involving an ancient spirit, the new season feels like one big undead sex party-a kinky alternate lifestyle where vampires and monsters do the nasty (and other violent acts) in roadhouses, backrooms, backwoods and the occasional antebellum mansion.
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  14. The show is cluttered with cutesy sidekicks, including Gabourey Sidibe as a student and John Benjamin Hickey as Cathy's homeless brother. But Linney's a big deal. [30 Aug 2010, p.37]
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  15. Here's one of the most offbeat new shows of the new season. Also one of the best. [13 Sep 2010, p.48]
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  16. The show promises to be sexy fun. [6 Sep 2010, p.47]
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  17. The show is gorgeously produced and spectacularly violent but its success depends chiefly on Buscemi....A brilliant, brutally funny performance. [20 Sep 2010, p.51]
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  18. Fall's best new sitcom has the manic zip of Malcolm in the Middle and the diabolical humor of raising Arizona. [27 Sep 2010, p.55]
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  19. A zombie-apocalypse fantasy set in Atlanta, this is the scariest series U've ever seen. [8 Nov 2010, p.39]
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  20. Migrations' animals provide a humbling lesson in resilience and determination. [15 Nov 2010, p.44]
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  21. Awesomely clever, it's the Inception of sitcoms. In season 2 the show has preserved its core concept of friendships in a community-college study group while piling on daringly odd jobs. [6 Dec 2010, p.49]
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  22. This remains far and away the best prime-time sitcom: crisp and farcical, but very kind. [25 Oct 2010, p.37]
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  23. Regina King heads the solid ensemble. these folks are dutiful, proud and bonetired. [10 Jan 2011, p.40]
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  24. Beneath the grit, this is a tale of chivalry. [31 Jan 2011, p.40]
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  25. Parks, in a sense, is Li'l Sebastian: shaggy, small-boned, charming and lovably stupid. [31 Jan 2011, p.39]
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  26. As police superintendent Teresa Colvin, Jennifer Beals gives a revelatory, no-nonsense performance that should make Tom Selleck's mustache bristle with envy....This should be lots of fun. [7 Feb 2011, p.39]
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  27. This is an epic portrait of a woman who's monumentally single-minded yet uncomprehending, and watching her rise and fall inspires a sick awe. [4 Apr 2011, p.50]
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  28. The photography is sweepingly gorgeous--this must be the best of all possible planets. [18 Apr 2011, p.46]
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  29. What's amazing is how quickly it all falls into place--the show goes like a shot. [25 Apr 2011, p.43]
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  30. Season 3 of Showtime's great Nurse Jackie brings romance to student nurse Zoey. [25 Apr 2011, p.44]
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  31. When The Close comes to a close, we'll lose one of the best TV detectives of the past decade. [11 Jul 2011, p.33]
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  32. The Show has evolved into a modern underworld Western--there's nothing else like it. [18 Jul 2011, p.41]
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  33. Denis Leary's superb comedy-drama about New York City firefighters, will end its seven-year run a few days before the 10th anniversary of 9/11. [15 Aug 2011, p.34]
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  34. Gellar commands every scene. Hers is a true, potent star turn. [12 Sep 2011, p.43]
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  35. [A] taut, ingenious spy series. [10 Oct 2011, p.44]
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  36. Prohibition is a merry, bullet-sprayed study of the era's rampant criminality. [10 Oct 2011, p.40]
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  37. Beautifully filmed, George Harrison: Living in the Material World is especially good on the singer-guitarist's post-Beatles life as he sought enlightenment in Eastern religions. [10 Oct 2011, p.40]
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  38. The first three episodes are full of impressively strong criminals. [23 Jan 2012, p.40]
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  39. NBC hasn't had a show this impressive since the first season of Heroes. [6 Feb 2012, p.39]
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  40. The scares are not as over-the-top as American Horror Story but more chilling because they're applied glancingly. [13 Feb 2012, p.44]
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  41. The jokes take of on all sorts of unexpected trajectories--foul balls that score. [12 Mar 2012, p.45]
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  42. It's mesmerizing. [26 Mar 2012, p.44]
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  43. The show still tends to go suddenly flat--it's hard to tell whether the party is supposed to be dead or it's just incompetently staged--but Hamm is always superb as Don. [2 Apr 2012, p.37]
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  44. Can. Not. Wait. [9 Apr 2012, p.39]
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  45. Falco's performance never loses a weary, trudging toughness and, at the core two hard kernels of anger and sorrow. [16 Apr 2012, p.50]
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  46. It's a raw, ironic, occasionally touching comedy of post-millennial manners. [23 Apr 2012, p.37]
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  47. In season 2 of PBS's richly clever Sherlock, the Victorian tales have been refitted to our century. [14 May 2012, p.44]
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  48. Bad has taken the complexity of modern television storytelling to new levels. [23 Jul 2012, p.37]
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  49. These are almost closer to short stories than sitcom episodes--and yes, they're fantastic. [23 Jul 2012, p.38]
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  50. Put his [Bobby Cannavale's] floridness up against Buscemi's poker-faced acidity and you get fireworks. [24 Sep 2012, p.57]
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  51. The show hasn't lost its clever agility at building pressure-cooker suspense and then lobbing in a surprise. [8 Oct 2012, p.55]
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  52. The game changer sets season 7 on an exciting new course. [8 Oct 2012, p.60]
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  53. Nashville is the best new show of the fall. [29 Oct 2012, p.37]
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  54. The heartbreak here--especially the cases of poor children who died of "dust pneumonia"--is tremendous. [26 Nov 2012, p.45
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  55. They're delightful. [26 Nov 2012, p.48]
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  56. If the Granthams are low on dough, emotionally they're richer than ever. [14 Jan 2013, p.51]
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  57. Discovery's Africa is yet another marvel of high-definition photography. [14 Jan 2013, p.56]
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  58. The show is an absolute original. [28 Jan 2013, p.44]
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  59. What gives the show its kick is the gleefully childish lack of repentance shown by most of these rascals--countered by Olyphant's coolly amused control. [4 Feb 2013, .39]
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  60. The two hours available for review are cinematically rich, full of sleek, oily pools of darkness. [11 Feb 2013]
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  61. This haunting New Zealand miniseries boasts a strong, tense performance from Mad Men's Elisabeth Moss as a detective, but it's very much the work of director Jane Campion. [25 Mar 2013, p.44]
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  62. There's event television, and there's Game of Thrones. [8 Apr 2013, p.41]
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  63. NBC's best new drama since forever. [15 Apr 2013]
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  64. Predictably awesome. [27 May 2013, p.42]
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  65. Director Steven Soderbergh's Candelabra is one of the smartest, tartest examples I've ever seen of that soupy genre, the Hollywood biopic. [27 May 2013, p.39]
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  66. [A] cool yet intensely emotional British crime series. [24 Jun 2013, p.40]
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  67. Shandling's laid-back comic style dovetails with the dry writing, creating a series that's the clear victor in the talk show wars.
  68. The best ensemble cop drama since Hill Street Blues.
  69. Strikingly shot, wonderfully cast, this tough, taut, atmospheric show is the season's best new series.
  70. Stylish and well-acted, this is the rare show in which commercials hit with a jolt, awakening you from the program's potent spell.
  71. With its creepy soundtrack, terrifying visuals and ingenious plot twists, Millennium is far and away the best new show of the year.
  72. An instant classic.
  73. As Larry, Shandling raises banality into an art form; he is consistently hilarious whether blissfully watching his own videos or reacting to a bad review.
  74. Critics justly extolled The Sopranos for its brilliant blend of compelling drama and mordant humor, and the first three episodes of 2000 contain no signs of slippage.
  75. The Sopranos is better than ever.
  76. Larry David's sitcom remains an awe-inspiring (and hilarious) exercise in comedic extremes of chaos and control.
  77. [A] superbly tawdry new crime series. [8 Jul 2013, p.35]
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  78. It's beautifully constructed, cleverly fitted with red herrings and capacious enough to house a community of suspects. The emotional payoff is sensational, and so is the acting. [12 Aug 2013]
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  79. Queen delivers the basic goods (intrigue, sex) , but the only vivid character is Margaret Beaufort, mom of the future Henry VII. She's played by Amanda Hale with startling neuritic fervor. [12 Aug 2013]
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  80. Sunny is Punch and Judy for our time: invigoratingly primal entertainment.[9 Sep 2013, p.41]
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  81. Arguably you shouldn't miss any of The Hollow Crown. But the one you're commanded to watch is Richard II. [23 Sep 2013]
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  82. This is adult entertainment in the very best possible sense. [7 Oct 2013, p.47]
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  83. [A] mesmerizingly eerie French series set in a mountain community. [4 Nov 2013]
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  84. Brooklyn Nine-Nine is fine as it is. Tell your DVR to book it. [9 Dec 2013, p.43]
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  85. Very little happens in the first three hours of this anthology crime series, yet it's absolutely riveting. [20 Jan 2014]
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  86. [It] promises to be a dizzyingly clever season 2. [3 Mar 2014, p.39]
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  87. Tyson elevates this character into a prism through which passes the span of existence.... You will be sighing for days. [10 Mar 2014, p.48]
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  88. It's educational, kid-oriented and fun, and Tyson us confidently smooth popularizer of science. [17 Mar 2014]
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  89. The show is infernally good. [17 Mar 2014]
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  90. The first three episodes of season 4 grab the wide-flung stories of this epic and assemble them into a crackling narrative. [7 Apr 2014, p.41]
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  91. [A] fast, funny political satire. [14 Apr 2014, p.49]
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  92. A larger, wholly engrossing story about crime syndicates and hit men. [21 Apr 2014, p.43]
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  93. Louie remains a small miracle--a shaggy-dog story, hopping with fleas, maybe rescued froma pound, that outdazzles Lassie, Air Bud and the rest. [12 May 2014,]
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  94. Ned and just about everyone else erupts in violent arguments, denunciations, accusations, counteraccusations, diatribes--these are searing, electrifying moments, furiously articulate and delivered with escalating passion. [2 Jun 2014, p.45]
  95. Like The Next Generation, this show tends to be morally didactic. But also like its mother ship, Deep Space Nine is richly imagined, with good scripts and great visuals.
  96. The concept seems to be an easy one to exhaust. But if the writing manages to stay fresh, we could be looking at the '90s version of The Bob Newhart Show.
  97. Intelligent, fleet, emotionally complex and lightly dusted with Kelley's celebrated sense of the absurd, this is the best hospital show since St. Elsewhere.
  98. The new entry is more action-oriented and less morally ponderous than the recent Star Trek series. But it still suffers from its predecessors' overdeveloped air of gravitas.
  99. NewsRadio is a nervier, more sophisticated version of WKRP in Cincinnati, updated to a time when people are much less secure about their jobs and far more wary about each other.
  100. [The first episode] is packed with potential. It is fast-paced, funny, touching, romantic and surprising. Please note that we did not add "realistic."
  101. It has intelligence and feeling and brutality. The Sopranos hits all the notes.
  102. The West Wing sure looks like a winner.
  103. The young actors are natural and convincing, and the high school characters manage to be funny without too much Dawson's Creek glibness.
  104. You'll laugh so often that you may not notice the blessed absence of a laugh track.
  105. Now that's daring television.
    • 87 Metascore
    • 91 Critic Score
    [An] amiable send-up of small-town life.
  106. Curb Your Enthusiasm has an unhurried, improvisational style that may cause restlessness. And David, playing himself as a cranky pessimist, is a determinedly unlovable star. But stay with the 10-week series and you'll be ensnared by his sly humor.
  107. The season's nicest surprise.
  108. For the most part, the miniseries honors the soldiers' bravery without hiding their fears or failings.
  109. Thanks to the mesmerizing performance of Vincent D'Onofrio as New York City Det. Bobby Goren, this new series enhances the value of the brand.
  110. If you pay attention, the writing and direction reward the effort.
  111. The show moves methodically from one story line to another, progressing by inches yet holding our interest with its finely drawn characters and a rare ability to illuminate the gray areas of city life.
    • 31 Metascore
    • 91 Critic Score
    Philip Marlowe meets Moonlighting—with a passing nod to The Odd Couple—In this delightfully inventive new detective show.
  112. The series' grim tone and overall look of a grimy world in perpetual need of dusting or wiping is a long way from Buffy the Vampire Slayer and closer to Japanese movies like The Grudge. [12 Sep 2005, p.45]
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  113. Entourage remains supremely good-natured. [19 Jun 2006, p.37]
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  114. With sharp camera work, pulsating music and no tedious, gimme-an-Emmy closeups, it's like CSI at warp speed. [4 Sep 2006, p.41]
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  115. [It] looks like Sex and the City relocated to Northern Exposure. [18 Sep 2006, p.39]
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  116. It's the best new sitcom of the fall. [16 Oct 2006, p.39]
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  117. The series' sixth season begins with an intensely entertaining four-hour, two-night premiere. [15 Jan 2007, p.33]
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  118. Andy's humiliations as a minor celebrity aren't quite as funny as was his earlier shame at being a nobody, but as a satire of showbiz vanity, Extras can still be described as (what else?) stellar. [29 Jan 2007, p.43]
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  119. This show is so wrong. And I loved every minute of it. [5 Feb 2007, p.37]
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  120. [Driver's] tone gets under the skin. As does the show. [19 Mar 2007, p.39]
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  121. [It] remains a nervily ambiguous concept. [18 Jun 2007, p.37]
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  122. After two flabby seasons, the Fox action series is back in bang-up shape. [25 Jan 2010, p.41]
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  123. Olyphant plays this laconic, loping lawman with a smiling minimalism that makes Givens both iconic and contemporary.
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  124. Co-created by David Simon and Eric Over­myer, the team behind The Wire, this is a lovingly textured, slowly unfolding series set in post-Katrina New Orleans. [26 Apr 2010, p.40]
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  125. West Wing politico Bradley Whitford reinvents himself for this entertaining free-for-all, a loose blend of buddy comedy and police action that's also an affectionate nod to series like Starsky & Hutch.
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  126. Challenging but engrossing.
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  127. Melissa McCarthy and Billy Gardell star in a sweet, old-fashioned sitcom. [Sep 27 2010, p.55]
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  128. The formula still works. The Real Housewives of DC wasn't any fun, but the new Beverly Hills chapter delivers. [18 Oct 2010, p.37]
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  129. In its second season, the high school musical comedy occasionally flies off the rails...But maybe that's to be expected from this aggressively inventive pop fantasy, where mundane details like homework never matter. [1 Nov 2010, p.41]
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  130. Therapist Paul Weston a human-shaped cloud who grumbles with the low thunder of the maladjusted, has drifted back for a gripping new season of HBO's In Treatment. Gabriel Byrne plays the part flawlessly, and he's up against two especially rewarding talents. [1 Nov 2010, p.42]
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  131. It's very entertaining in its low-key, waist-widening ways. [20 Dec 2010, p.44]
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  132. The first few nights showed O'Brien settling in with his charmingly original humor, which is sophisticated yet twerpily silly. [29 Nov 2010, p.41]
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  133. The high school musical comedy occasionally flies off the rails. But maybe that's to be expected from this aggressively inventive pop fantasy. [1 Nov 2010, p.41]
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  134. Gabriel Byrne plays the part flawlessly, and he's up against tow especially rewarding talents. [1 Nov 2010, p.42]
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  135. Mad Love [is] a relationship sitcom with real chemistry. [21 Feb 2011, p.41]
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  136. In its second season, the spy parody remains my favorite animated series, thanks to its retro visual design--this is a cartoon for the age of Mad Men--and the vicious, dead-aim put-downs that make up most of the dialogue. [14 Mar 2011, p.42]
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  137. Reubens is getting a bit old for this, but Pee-wee's innocence, infantilism and camp haven't dated--there's a rebel in the ridiculousness. [21 Mar 2011, p.46]
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  138. [A] fascinating reality hit. [28 Mar 2011, p.57]
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  139. It takes awhile to adjust to the dissonance, but the muted naturalism of the superb cast draws us in. [9 May 2011, p.40]
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  140. The only disappointment is the werewolf makeup, minimal enough that Posey could still blend in at the mall. [13 Jun 2011, p.48]
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  141. What's surprising and even touching is that Fergie may not be a hot mess, but she's an appealingly human one. [20 Jun 2011, p.47]
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  142. Luckily Blood is still buoyed by its weird, Gothic zest and the performers all operate with the same vibe of ripe sexuality and restrained camp. [4 Jul 2011, p.37]
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  143. The show is a trampoline that sags clear down to the ground, the better to catapult you off into the air. [18 Jul 2011, p.35]
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  144. The girls' chemistry should keep the show breakdown free. [19 Sep 2011, p.59]
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  145. It's funny and moves blindingly fast, barely giving you time to blink or gulp--Dark Shadows for the PlayStation age. [10 Oct 2011, p.39]
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  146. It might be unwatchable if Dern, who's excellent, didn't allow Amy's laughable obtuseness to be pierced by glimmers of empathy and acceptance. [ 17 Oct 2011, p.40]
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  147. The show's many subplots are handled clumsily, but these two [Grammer & Nielsen] are too good to pass up. 25 Oct 2011, p.48]
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  148. The animated duo have returned, as dumb--and hilarious--as ever. [31 Oct 2011, p.36]
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  149. This fall sitcom is a hit entirely because of Deschanel's performance as Jess. [7 Nov 2011, p.41]
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  150. This drive for revenge is what makes the pilot spark, smoke and go chug-a-chug-chug. [14 Nov 2011, p.45]
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  151. The show has the makings of great--what else can I say?--escapist entertainment. [23 Jan 2012, p.39]
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  152. Luck is a true original, a show with a tone like no other. [30 Jan 2012, p.43]
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  153. Comparisons to The Iron Lady, a sloppy movie that has Meryl Streep in roaring good form, are inevitable. Is Game Change better? You betcha. [5 Mar 2012, p.41]
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  154. The comedy here, as with Elaine, comes from watching Louis-Dreyfus's sophisticated, furiously sharp timing applied to a character who has the intelligence of a finch. [30 Apr 2012, p.35]
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  155. Given the amounts of sumptuous scenery to chew on, the acting is restrained, even if the gore and sex are not. [28 May 2012, p.40]
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  156. The pace sags, but the accumulation of sacrificed lives gives it all a haunting sorrow. [4 Jun 2012, p.44]
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  157. It's both old and new, a comfy piece of nostalgia that doubles as a fresh guilty pleasure. [18 Jun 2012, p.39]
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  158. The first episodes are very promising, full of feints, fibs, and a big, fat shock. [16 Jul 2012, p.40]
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  159. The show's tone [is] vulgar, jolly and winning. [16 Jul 2012, p.39]
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  160. It's just suspenseful and clever enough to keep you happily intrigued. [3 Sep 2012, p.39]
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  161. This BBC hit is the soppily tender story of '50s midwives in London's East End. [1 Oct 2012, p.38]
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  162. [A] highly satisfying update. [8 Oct 2012, p.57]
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  163. The Walking Dead has managed to work fresh morsels into television's grimmest stew. [22 Oct 2012, p.41]
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  164. Johnson is the find of the season: She's the sunbeam that doesn't filter out dust motes. [29 Oct 2012, p.38]
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  165. The CW's best show since Gossip Girl.... it has a forthright narrative seriousness, a respect for the gobbledy-gook that makes up any superhero's backstory--and a game cast performing with the correct degree of seriousness. [19 Nov 2012, p.35]
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  166. One of the fall's best new dramas. [26 Nov 2012, p.48]
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  167. Matthew Weiner has advanced the show far enough into the '60s that its fundamental philosophical question begins to generate its own oppressive suspense. [15 Apr 2013]
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  168. Louis-Dreyfus's performance--which, like Congress, can be divided into two houses, Crackling Charm and Hysterical Ego--still drives the show, but we're getting more realistic sense of political gamesmanship. [22 Apr 2013, p.45]
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  169. It is still a distinctly Guest production: often poky, always charmingly whimsical and, from time to time, so astoundingly funny you seem to have shot into a distant stratosphere of pure comedy. [13 May 2013, p.45]
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  170. What hasn't changed and what matters, is Mireille Enos's sodden, unshakable integrity as a detective who could outlast a pack of bloodhounds. [10 Jun 2013, p.48]
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  171. It's the season's best new series, period.
  172. Gritty and engrossing as ever.
    • 76 Metascore
    • 88 Critic Score
    Remarkable.
  173. The Comeback is funny, especially when it skewers the tasteless and false in reality TV.
    • 62 Metascore
    • 88 Critic Score
    It's all so much fun, in fact, that I propose Dancing viewing parties: Break out the wine and crackers and let ABC provide the delicious, calorie-free cheese.
    • 89 Metascore
    • 88 Critic Score
    Thanks to the nimble Leary, ever riveting as TV's most nuanced antihero (sorry, Tony Soprano), Tommy's tenuous struggle for sobriety is even more rewarding than last season's harrowing downfall.
  174. This could all pay off spectacularly. [8 Jul 2013, p.36]
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  175. An intricate mystery confidently spun out with dark, unsettling shocks. [15 Jul 2013]
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  176. Watching Nucky's frenemies thrive like poison toadstools ringing a tree--that's a grim, gripping spectacle in its own right. [9 Sep 2013, p.42]
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  177. Despite its cheap shock effects, the show is indulgently ridiculous. [[28 Oct 2013, p.41]
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  178. This late entry in the fall season is one of the best. [25 Nov 2013, p.43]
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  179. The show fades away like a Mari Gras parade drifting out of range. But it's a potent memory. [16 Dec 2013]
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  180. After an awful season 2, Lena Dunham's Brooklynocentric comedy celebrating coffee, ambition and sex is fixed. [20 Jan 2014, p.41]
  181. Mad Men has both the greatness of execution and inscrutability of artistic intent, and it won't be until the show actually ends that I'll know which one won out. [21 Apr 2014, p.41]
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  182. Edie Falco makes the stakes scarily real. [21 Apr 2014, p.43]
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  183. The team behind Bad Teacher has successfully reconfigured the raunchy comedy into a heart warming sitcom starring Ari Graynor that is still bad in all the right ways. [28 Apr 2014]
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  184. The procedural elements of the medical drama hum along nicely, but it's Reilly's performance outside the operating room that makes this show worth watching. [28 Apr 2014]
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  185. Red Band Society, which could turn out to be one of the best new shows of the fall, is like that, constantly catching you unexpectedly.
  186. The show may never again attain the sustained comic brilliance of last week's pilot. But this is a rarity for Fox: a sophisticated and clever sitcom.
  187. The episodes have grown slower and schmaltzier since the gripping pilot, but this series is still as sweet as an egg cream made with Fox's U-Bet Chocolate Syrup.
  188. As a social experiment, this project fizzles because of the imposing scrutiny (even the phone is tapped) and because of the artificial relationship foisted on these instant loftmates. But as television, it's rather intriguing.
  189. The scope is a little cramped but the writing is wonderfully droll.
  190. Some of the first-season bugs have been exterminated simply by recruiting young roommates who are more interesting and charismatic, people who smile and laugh a little more.
  191. In the tradition of Cheers, the show thrives by selling up distinct, contrary personalities and making them collide for a half-hour each week. So far the writing is sharp and punchy.
  192. Dr. Katz is a cartoon cross between The Bob Newhart Show and Seinfeld.
  193. In fact they're all really nice, which is the problem. Except for some minor sexual tension, there's no conflict.
  194. Though the show lacks the inspired cohesiveness of classic sitcoms like Cheers or Seinfeld, it is bright, brisk and well-played.
  195. Peta Wilson, an Australian actress with the harsh blonde hair, snub nose and oversize, depthless blue eyes of your average mass-produced doll, makes a sexy, amusing Nikita.
  196. The main plot lines are immediately involving.
  197. All in all, this looks like one of the brightest new shows of the season.
  198. You won't escape easily from this drama's grip.
  199. Russell has an unassuming sort of star quality that draws us to her character, and the writing in the pilot is sensitive without being soapy.
  200. This looks like another clever, irreverent, cutting-edge animated comedy from creator Matt Groening.
    • 69 Metascore
    • 83 Critic Score
    This new Fugitive has a very good Kimble in Tim Daly.
  201. Slightly ghoulish but engrossing.
  202. The makers of 24 needn't overuse the split-screen technique to emphasize the onrush of events. Viewers can feel the suspense start to build without seeing the seconds tick off on a digital clock. Give the gimmicks a rest. We're hooked without them.
  203. Scratch the gritty surface of this new police drama and you'll find it's not a totally revolutionary contribution to the genre.
  204. Early episodes can seem as static as a stakeout, and the viewer has a ton of information to absorb—much of it conveyed in obscenity-laced slang. But as we gradually get to know the players... The Wire grows electric.
  205. 24 strains credulity here and there... and some of the season premiere's doomsday dialogue smacks of parody. But the real-time format builds tension week-to-week as well as scene-to-scene, and Sutherland keeps adding depth to his portrayal of a man staggering slightly with the weight of the world on his shoulders.
  206. Are they lovable? No. Are they watchable? Compulsively so.
    • 63 Metascore
    • 83 Critic Score
    As a raw police procedural, Gracepoint thrives thanks to legitimately unsettling twists, sharp revelations that focus our attention on new suspects. But it's in Carver and Miller’s competing worldviews that the show finds something more substantial to work with.

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