Philadelphia Inquirer's Scores

For 540 reviews, this publication has graded:
  • 52% higher than the average critic
  • 2% same as the average critic
  • 46% lower than the average critic
On average, this publication grades 5.4 points lower than other critics. (0-100 point scale)
Average TV Show review score: 60
Highest review score: 100 Murder One: Season 1
Lowest review score: 0 Family Guy: Season 4
Score distribution:
  1. Mixed: 0 out of 283
  2. Negative: 0 out of 283
283 tv reviews
  1. The show is ugly and fixated on death and violence. There's lots of lurid sex, too, reflected in other title images. There's also creativity and flat-out breathtaking acting to instill a voyeuristic fascination and perhaps inspire a fanatic.
  2. Part soap opera, part horror movie, all whodunit, Harper's is diverting, and only infrequently frightening, fantasy soap opera.
  3. In its first week, the show has acquired a more expansive, scattershot tone. It feels less rehearsed than Leno's regime, but at times, out of control.
  4. These medical shows aren't brain surgery, but most of them are dead on arrival anyway. Three Rivers shows up at least with a healthy pulse.
  5. The mystery makes Pretty Little Liars more entertaining than the tedium of Gossip Girls, and many parents might actually enjoy watching along with their young adults, who can explain why this sort of thing is so alluring to them.
  6. The whole thing perks along like a Honda Civic and is just about as exciting.
  7. If musical theater gives you goose bumps, congratulations. You just got a front-row seat. If it doesn't enthrall you, Smash will strike you as almost unbearably tedious and pretentious.
  8. The result is distinctly forced, but a standout cast manages to put a breezy top spin on some leaden material.
  9. The show needs some tonal and content adjustments....But Urie and Krumholtz alone make this a half hour worth watching.
  10. Revolution had better worry about generating some voltage of its own. The pilot was excellent, but where does it go from here?
  11. Vegas has a lot of things going for it: star power, period ambience, and a compelling Vegas central conflict. But despite all that, the show doesn't feel like it's hit the jackpot.
  12. It's a terrific idea. But it doesn't quite measure up to its potential.
  13. Cold Case doesn't know Philly. Too often the few authentic exteriors - Boathouse Row, for instance - give way to some generic Los Angeles location. The show itself is full of references to nonexistent places and situations. [28 Sept 2003, p.H01]
    • Philadelphia Inquirer
  14. Just about everybody in this cast is superb. Maybe the production team, headed by Gary David Goldberg, who did Fox's "Family Ties" and the cuddly "Brooklyn Bridge", will fix all the first episode's flaws. Too many halfhearted gay and orgasm jokes bring to mind too many of last year's tired Friends imitators.[17 Sept 1996, p.D01]
    • Philadelphia Inquirer
  15. It's a show-off show, the most impressive new series of the season, of many seasons, but it has one big deficit. Like the Tin Man, it has no heart. Maybe it will grow one, and it will certainly bear watching for a few weeks to see if it does. [22 Sept 1999, p.C01]
    • Philadelphia Inquirer
  16. The supporting cast, especially Jenna Fischer as the pretty but timid receptionist ("I don't think it's many girls' dream to be a receptionist") and Rainn Wilson as an obsessive, humorless drone, helps keep the pencils sharp when boss Scott gets too unfunny in his attempts to create an easygoing office atmosphere. [24 Mar 2005, p.D01]
    • Philadelphia Inquirer
  17. Kindness is the true beauty of Will & Grace, and it may be that kindness, in the midst of so much of the mean-spirited, demeaning stuff that passes for comedy on TV, will carry the day. [21 Sep 1998]
    • Philadelphia Inquirer
  18. Its success is due largely to the costumes, set dressing, and comeliness of the two leads, a smoldering Max Irons (son of Jeremy) and radiant Swedish actress Rebecca Ferguson.... The problem with The White Queen is its pace, slowed by ponderous exposition and arcane bloodline conspiracies.
  19. Low Winter Sun goes for a mood darker than noir. It's atmospheric, but the air it generates is noxious.
  20. Despite a number of funny lines sprinkled through the script, this History isn't very memorable. It seems more like Larry David's What I Did on My Summer Vacation project.
  21. Williams is a treasure, leapfrogging through voices, characters, and puns.... He's also the only reason to watch, because the show's premise is so limiting.
  22. As enjoyable as it is to watch, it seems at the same time ridiculously far to go for a joke. You can't escape the feeling that an extraordinary amount of time, money, and talent have been spent on a thin premise.
  23. An enjoyable if inflated and overwrought four-part mini-series.
  24. The show is a sweetened, Americanized version of the 2002 film of the same name starring Hugh Grant, which was itself adapted from Nick Hornby's 1998 novel.
  25. The drama really piles it on: Catherine's only hobbies seem to be cutting herself on her tummy and hips with a razor and collecting paintings of famous serial killers' childhood homes. Midway through, the pilot improves considerably--and gets even stranger.
  26. If only Surviving Jack was more daring. But it falls into TV's sap-trap. Meloni is deliciously derisive, but only for the first 20 minutes of the episode.
  27. An uneven, if promising, period drama set during the American Revolution.
  28. Overscored and overwrought, The Normal Heart is a tough pill to swallow. The direction of Ryan Murphy (Glee) is piercingly staccato (and visually inconsistent). The tender moments don't resonate, and the fraught moments feel hysterical.
  29. The premise is actually more promising than the one in HBO's The Leftovers, in which a portion of Earth's population just vanishes. But The Lottery is not as well-cast or -produced as that other 10-episode series.
  30. The series is exceedingly good at what it does, but that is not storytelling, which leaves The Knick in the curious position of being utterly absorbing without being particularly engaging.

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