People Weekly's Scores

  • TV
For 1,031 reviews, this publication has graded:
  • 58% higher than the average critic
  • 14% same as the average critic
  • 28% lower than the average critic
On average, this publication grades 3.8 points higher than other critics. (0-100 point scale)
Average TV Show review score: 69
Highest review score: 100 The White Queen
Lowest review score: 16 Fear Factor: Season 1
Score distribution:
  1. Mixed: 0 out of 751
  2. Negative: 0 out of 751
751 tv reviews
  1. Weeds feels like a stoned Desperate Housewives: The pupils are dilated wide, as if able to pick out in sharp relief every detail of this suburban America, yet nothing really seems in focus at all.
    • 60 Metascore
    • 50 Critic Score
    The gutted-out city is perhaps the show's most compelling character. [26 Aug 2013, p.38]
    • People Weekly
  2. It has some good jokes, but this overly familiar spoof lacks the strength to push the envelope. [2 Sep 2013]
    • People Weekly
  3. It is nice but overly familiar in its reliance on pop-culture signposts and snuggly sentimentality. [30 Sep 2013, p.53]
    • People Weekly
  4. It's meaningful that a gay dad with a teen daughter can be conventional--it's a just not great comedy. [14 Oct 2013, p.44]
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  5. Welcome to the family is nicely cast.... [But it] needs to punch up the writing. [28 Oct 2013, p.47]
    • People Weekly
  6. Sort of a Real Housewives with saddles. [16 Dec 2013]
    • People Weekly
  7. This is advertising with a side of bruthah (and muthah)-ly love. [10 Feb 2014, p.50]
    • People Weekly
  8. Even this adventuresome idiosyncratic actor [Malkovich] doesn't seem to be having much fun. [2 Jun 2014, p.46]
    • People Weekly
  9. Shift is competent but useful mostly as a reminder to stay healthy at all costs and avoid this sort of place. [9 Jun 2014, p.34]
    • People Weekly
  10. The only thing more uneven than the quality of the videos is host Bob Saget's comic commentary.
  11. Ragsdale has vigor, and the office scenes, featuring Jason Bernard, Yeardley Smith, Jane Sibbett and Hank Azaria, work moderately well without the intrusion of the barbershop quartet in his cerebellum. That gimmick, however, makes the show unbearably contrived.
  12. Parker is appealing as always, but watching the show is an empty diversion—like scanning a gossip column about people who don't exist.
  13. Popular makes valid points about the unfairness of social stratification. But with its gimmicky camera work (whoa, we're on fast-forward) and flights of surrealism (talking frog in bio lab), it tries too hard to be hip.
  14. In contrast, the British original, while just as explicit, is also funny and warm, with a Trainspotting zip. You'll be happier renting videotapes of that.
  15. To make new fans, show more enterprise.
  16. Is this show in danger of being too nice? Somebody must have thought so, because George has been given a harridan for a mother.
  17. The singles scene must be pretty bleak if women would rather mass for a prime-time cattle call than go out on a blind date.
  18. Dreyfus... seems to be laboring to turn a so-so show into the I Love Lucy of the 21st century.
  19. Neither [Underwood nor Moyer were] helped by the fact that the production stuck to the original Broadway show, which premiered more than half a century ago. It was full of business that might be delightful or even exciting on a stage--nuns gliding about while singing their alleluias, characters racing up and down grand, sweeping staircases--but on a wide-screen television it tended to look like just that, lots and lots of stage business.
  20. Meyers is talented and interesting enough that I shouldn't be watching his premiere and wishing that Stefon had shown up instead of Joe Biden.... The monologue was nothing much. Meyers at least seemed instantly comfortable, at home, once he finished a string of so-so punchlines and sat down behind the desk.
  21. The show can be wonderfully mean... but it's too spotty. [24 Oct 2005, p.41]
    • People Weekly
  22. In the first few episodes, nothing's happening. No pulse. Doctor, what's wrong? [24 Oct 2005, p.41]
    • People Weekly
  23. Lee may lack the essential sweetness, or pathos, to make Earl ever seem like more than a cute variation on those lovable, loquacious losers who tumble, beer can spurting, through Coen brothers movies. [3 Oct 2005, p.39]
    • People Weekly
  24. Maybe Prinze should just clear the soundstage of all these people, stand there alone and start over. [24 Oct 2005, p.41]
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  25. Silly. [7 Nov 2005, p.41]
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  26. It just doesn't work. [30 Jan 2006, p.38]
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  27. As an ensemble they are, like their teacher, attractive but not very exciting. [10 Apr 2006, p.35]
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  28. It feels less like Freud's fun house than an opportunity for one performer after another to launch into frenzied, vituperative speeches. [24 Apr 2006, p.39]
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  29. It's like a David Mamet parody of Roseanne. [19 Jun 2006, p.37]
    • People Weekly

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