Philadelphia Daily News' Scores

  • TV
For 693 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 2.3 points lower than other critics. (0-100 point scale)
Average TV Show review score: 62
Highest review score: 100 The Wire: Season 4
Lowest review score: 0 Big Shots: Season 1
Score distribution:
  1. Mixed: 0 out of 375
  2. Negative: 0 out of 375
375 tv reviews
  1. A watered-down drink of a sitcom.
  2. For all its numbers wizardry, the overmanipulative Touch doesn't yet add up.
  3. Pretty Little Liars is entitled to its version. If only it could have resisted some of the other cliches.
  4. The younger campers and counselors all have dramas, too, some interesting enough to make me wonder why Little Otter needed so many adults in the first place. None, though, is so compelling that I've stopped regretting the loss of ABC Family's much better "Huge," which starred Nikki Blonsky as a rebel in a weight-loss camp.
  5. Whatever my squeamishness, however, my real problem with Nip/Tuck isn't with the surgeries but with the writers, who seem determined to remind us that beauty is only skin deep by taking very pretty people and making them do very ugly things...Over and over. [21 June 2004, p.35]
    • Philadelphia Daily News
  6. Damon ("Lost's" Ian Somerhalder) complains. "Remember, Stefan--it's important to stay away from fads." If only the CW would listen.
  7. Hayes, like the character he played opposite Hilty last season as a guest star in "Smash," seems uncomfortable whenever he deviates from his preferred setting of over the top. But when everyone's over the top, it gets exhausting.
  8. It's a slight enough premise but one that could work if Kimmie had even a quarter of the confidence of her creator.
  9. K-Ville's Lisco seems to want to have it both ways, presenting very complex cases and then wrapping them up neatly within the hour.
  10. Though based on a Twitter feed, it's far more of an old-fashioned sitcom than Tina Fey's weekly 22 minutes of whimsy, and Shatner is occasionally quite funny as a curmudgeonly retired doctor whose relationship with his son (Jonathan Sadowski) never quite developed.
  11. Pressly's a sharp comedic actress who doesn't need to play the humiliation game to be funny. She just needs the right show. Jennifer Falls isn't it.
  12. It's probably not a good sign that by Monday's installment I was nearly as eager to see the Barrow Gang's spree end as Hurt's character was, even knowing it was bound to be far from pretty.
  13. Poehler's funny because she's a smart blonde, not a dumb one. Here, she's reduced to one of TV's default settings.
  14. How to Be a Gentleman feels as if it comes from someone who knows a fair amount about constructing a sitcom but not quite enough about being funny.
  15. Hawley, who cited two of the best cop shows ever, "Hill Street Blues" and "NYPD Blue," as models, might want to hold off on the patent application. The one episode I've seen of The Unusuals felt unreal and unoriginal. Too bad, because Hawley's assembled some terrific players to populate his precinct of supposed misfits.
  16. This is a cast that for the most part has experienced good, even great, writing in the past, and while I'm not saying Martin's pilot is laugh-free, it's a sight closer to her deservedly short-lived ABC sitcom "Hot Properties" than it is to "Frasier."
  17. In return for confessing to a longtime crush that she's had feelings for him, an ordinary looking woman--the "Plain Jane"--is treated to a makeover by British fashion journalist Louise Roe, whose bag of tricks doesn't extend much past what you'd see on "What Not to Wear" or a host of other shows.
  18. This particular M.E., who's a bit of a Sherlock Holmes type, tags along with police on their investigations and isn't shy about interrogating suspects. Or even accusing them. Which can be kind of annoying. And not just to the cops she's upstaging (who include Sonja Sojn, of "The Wire").
  19. Schulman seems desperate to extract meaning from the situation, but this isn't "Undercover Boss": The only prize available for the deceived is the attention for which they may already have proven a little too hungry.
  20. I'm probably not the best judge of NBC's Breakthrough with Tony Robbins, which struck me as way more Tony Robbins than breakthrough.
  21. Though perhaps slightly more rational than his Fox counterpart, who's increasingly becoming a caricature of himself, White's given to ponderous pronouncements that make every decision on The Chopping Block sound like a matter of life and death.
  22. A model-thin depiction of the glamorous and not-so-glamorous lives of fashion mannequins that was co-created by Ashton Kutcher.
  23. There's nothing in the pilot that feels particularly like today, much less like tomorrow.
  24. Another Period is too intent on lampooning every period convention ever to wait even a millisecond for a laugh, resulting in a show that's more frantic than funny.
  25. I'm afraid the show, like beauty itself, is only skin deep. [22 July 2003, p.40]
    • Philadelphia Daily News
  26. I'll admit that between the CW and ABC Family, I'm having trouble keeping track of the duos who've been separated at birth, switched at birth, given up at birth and in the case of Ringer, apparently just found themselves drifting apart into different worlds, but by halfway through tonight's pilot, I felt as if I'd seen this one before.
  27. Fans who've stuck with Kelley ("L.A. Law," "Ally McBeal") as his series became more outlandish (and yet repetitive) might enjoy seeing Bates in those inevitable scenes where she sways the court with the power of the writer's convictions. But there's a disconnect between Kelley's whimsy and his rhetoric here that too often leaves the cranky Harriet looking merely foolish.
  28. As good as the performances are and as fascinating it might be to see the inner workings of a celebrity trial where money was apparently no object, Phil Spector plays like a docudrama.
  29. The pilot for FlashForward, by contrast [to "Lost"], feels more like deja vu, with characters who could've been rounded up from a disaster miniseries, tied to a mystery that's only compelling if we care what happens to these people.
  30. Call me culturally insensitive, but I wasn't nearly as offended by the stereotyping in Outsourced--which is based on a movie of the same name that I've never seen--as I was by the fact that most of the resulting jokes were so lame.

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