Philadelphia Daily News' Scores

  • TV
For 740 reviews, this publication has graded:
  • 47% higher than the average critic
  • 3% same as the average critic
  • 50% lower than the average critic
On average, this publication grades 2.5 points lower than other critics. (0-100 point scale)
Average TV Show review score: 62
Highest review score: 100 Murder One: Season 1
Lowest review score: 0 Big Shots: Season 1
Score distribution:
  1. Mixed: 0 out of 405
  2. Negative: 0 out of 405
405 tv reviews
  1. I liked the original and also like what little I've seen of the remake so far, but won't know until it expands beyond the original stories - as American series generally must do - whether it's worth sticking with.
  2. Though I sense the show is treading water a bit as Prohibition drags on and the operations of the black market become increasingly contentious, there's still plenty to see on the Boardwalk, thanks to the show's secondary characters.
  3. The scenery in Klondike ... really is impressive, the performances are solid and though the dialogue's sometimes less than natural, the added-for-TV touches mostly make the story more palatable, if no less sad.
  4. The play's conceit doesn't work particularly well on film and it doesn't help that the performance took place at the Kennedy Center's Eisenhower Theater before an unstudent-like audience. But as static as the staging sometimes feels, Fishburne is more animated than he's gotten to be in a while, delivering a performance that's as funny as it appears to be heartfelt.
  5. Eli is hard not to like, whether or not you buy him as a prophet.
  6. I'm still not sure how much I buy of the overarching conspiracy that will have Sarah on the run from more than one set of bad guys--the action in Orphan Black doesn't leave a lot of time for overthinking these things--but for those up for a serious bioethics discussion, the openings are there.
  7. It's a finish [several seemingly disjointed stories are brought together by the end of the episode] more sitcommy than the show seems to call for, but one not weak enough to upset the balance of funny and heartfelt that made me want to see a bit more, even if it was just for the pleasure of this company.
  8. Driver's at her funniest in scenes where she and Marcus revel in their oddness, but "About a Boy" left me less sure of who Marcus is: He veers between painful naivete and canny opportunism with alarming speed.
  9. Though each character in Collision is in some way connected by the crash itself, it feels at times more like an old-fashioned collection of short stories, the kind that often end, O. Henry-like, with an ironic twist.
  10. Tyrant looks great. The cast is excellent.... The family soap opera might be more fun if the stakes weren't so high, the politics more riveting if Barry's reform attempts weren't so obviously doomed.
  11. McGinley is delightfully obnoxious, and the young lovers are quite sweet, but it's the undercurrent of resentment flowing in two directions that raises Ground Floor, if not to TV comedy's penthouse, at least to its second floor.
  12. "Sons of Anarchy's" outlaw motorcycle-gang members, while splendidly portrayed, never struck me as particularly sympathetic. No, not even the cute one with the Hamlet complex. But transplant all that blood-soaked angst to early 14th-century Wales, as "Sons" creator Kurt Sutter has in his new drama for FX, The Bastard Executioner, and it's easier to find old-fashioned romance in a man compelled to do horrific things to prevent even worse horrors.
  13. Easily the most sexually frank show of the four, it's also the funniest.
  14. Usher brings a sweetness to Cam that cuts through some of the cynicism around him. His character's far from perfect, but there are times when he seems a little too good to be true, or at least a little too good to be truly funny.
  15. This is not unfunny stuff, but in a week in which a show that's willing to turn a satirical eye on race might have drawn real laughs, Chocolate News feels a bit like a lost opportunity.
  16. Even with the mystery in the White House, there's a lot to like about Madam Secretary beyond Leoni's trademark husky voice and dry delivery.
  17. Mike & Molly, a romantic comedy about two people (Billy Gardell and Melissa McCarthy) who meet at Overeaters Anonymous, is, like most Lorre shows, a conventional-looking sitcom that manages to be very funny in a format that's been around for more than 50 years.
  18. The cast is solid--including Adam Baldwin as Chandler's No. 2--and if we must contemplate annihilation-by-virus, there are certainly less-pretty places to view it than from the deck of The Last Ship.
  19. This feels very much like the show I've been watching all along.
  20. Where American Gypsies shines--and it really does shine here and there--is in the glimpses we get of the internal system of justice that's developed among a people who don't trust government, and family rituals like the "red-dress ceremony" with which the Johns family welcomes its newest member.
  21. The River makes effective use of the idea that sometimes it's the things you can't see so clearly--or at all--that are the scariest.
  22. What starts out as a seemingly generic series about an assortment of showbiz wannabes becomes more engaging over the first few episodes.
  23. The humor's as broad as Lake Michigan, but when Sirens wades in a little deeper, as it occasionally does, it sometimes manages to be even funnier.
  24. It's a solid effort, but after three episodes, I'm not convinced that puncturing a carefully crafted image brings us closer to knowing the actual women behind the men.
  25. The pace, beginning with the group's launch in New York City, is fast enough to make the race, not the accompanying whining, the main event. [5 Sep 2001]
    • Philadelphia Daily News
  26. Although Queen Sugar looks beautiful and introduces some great characters--including the Bordelon siblings' Aunt Violet (Tina Lifford, Scandal) and her much younger boyfriend, Hollywood (Omar J. Dorsey, Ray Donovan)--the three episodes made available to critics are scene-setters. The seeds for good drama (or at least quality soap) are there. We'll just have to see what grows.
  27. You'll still need to suspend disbelief to accept her as someone the CIA could trust again, much less as anonymous enough for clandestine work. But if you can make the leap, it looks as if the post-Brody world still has stories worth telling.
  28. The Glee Project returns to Oxygen Tuesday with all the fun and frustration that marked its first round.
  29. The humor's not nearly as pointed as it is in Veep, but if you like Jack Black being Jack Black, you should like him here, too.
  30. For now, though, it's a familiar-looking drama that raises some less familiar questions about the things that makes us human--and the things that threaten to rob us of our humanity.

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