Philadelphia Inquirer's Scores

For 735 reviews, this publication has graded:
  • 54% higher than the average critic
  • 2% same as the average critic
  • 44% lower than the average critic
On average, this publication grades 3.8 points lower than other critics. (0-100 point scale)
Average TV Show review score: 62
Highest review score: 100 My Name Is Earl: Season 1
Lowest review score: 0 American Dad!: Season 1
Score distribution:
  1. Mixed: 0 out of 403
  2. Negative: 0 out of 403
403 tv reviews
  1. Though no sillier at heart than Under the Dome, Zoo or Extant, the Kings' Washington, D.C.-set BrainDead is sci-fi with a healthy sense of the ridiculous.
  2. An uneven, if promising, period drama set during the American Revolution.
  3. Mysterious comebacks have become a TV genre in themselves, yet I haven't seen anything quite like The OA, whose twists were gripping enough to keep me going even in some moments when I'd otherwise have been rolling my eyes.
  4. The disturbing alien plot unfurls through a wondrous, hours-long act of dramatic magic that draws together elements from ancient religions and modern science. This is heady stuff--but it's relayed with such intensity it'll sweep you along. The last act is a gut punch.
  5. On Parenthood, a top-notch cast of veteran actors struggles to wrestle a mountain of cliches into submission.
  6. The Causal Vacancy beautifully weaves together story lines about vivid characters of all social classes and of all ages with funny, heartbreaking and shocking vignettes about the hangups and bossiness of the main players and their children.
  7. Maybe they'll be back for more. Maybe they'll be canceled. It's hard to imagine anyone getting mad if that happened or loving the show enough to do much about it. Maybe they should have called it Sort of Annoying Like.
  8. 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.
  9. Subtract James Woods from Shark, and you'd have an empty carcass. Instead, you have a carcass with James Woods and all his crazy energy inside.
  10. A well-made rocket ride that's closer to 24 than anything else on TV.
  11. White Heat is a bold, fabulously written (if at times overbearing) chronicle of the political and social changes which sweep through Britain beginning in the mid-1960s.
  12. It's not as well-written or accomplished as Syfy's Merlin, but it's a lot of fun for the whole family.
  13. The wives never feel like fully drawn people. Instead, they feel like takeoffs on what the press latched onto about them in the first place.
  14. The overall picture is just a little too busy, too dense. The first episode of Hotel--the only one available to critics--is so busy trying to set up its divergent cast of characters it ends up being confusing and exhausting.
  15. Low Winter Sun goes for a mood darker than noir. It's atmospheric, but the air it generates is noxious.
  16. The helpers seem compassionate, and Ferguson's story is so fascinating that her "journey" makes for good reality television.
  17. The [first] episode is stilted and odd, the plot not engaging, and no one looks particularly excited to be there. So much time is spent on exposition and reminders of the past that it's groan-worthy. The following two entries are episodic, monster-of-the-week affairs and they reminded me how good The X-Files could be.
  18. It grows into something less brittle--and funnier--over the six I've seen, as the couple explore their increasingly unpalatable options and we get to know them better.
  19. The writing in the two episodes I've seen is funnier and more pointed than the show's premise.
  20. It's still as irresistible as a bowl of pistachios.
  21. Though it makes several seriously absurd leaps of logic, American Odyssey will be a must-see for conspiracy lovers. The show's only real downside is that its utterly hyperbolic and sensationalistic tone overshadows and obscures some of the real political issues it touches upon.
  22. Samantha will battle against past unremembered sins, as the writers battle to bring their scripts up to Applegate's talents.
  23. Like AHS and Glee, it could become a mess, but the launch is fun.
  24. Maybe they'll play up all the complicated marital undercurrents in future episodes, but given the emptiness of Bobby's character, it's hard to imagine that anybody would care.
  25. It suffers from hyperbole-exhaustion. Piven's performance is too broad. One wishes Ira would show up and give Harry a slap.
  26. The show is off to a rocky start, but there's the chance each week that it might redeem itself because a well-tailored script could rectify most of its issues.
  27. The queenpin's past as a minor drug-trade figure's girlfriend is compressed in the pilot to the point that it's nearly impossible to avoid stereotypes. Since that's the opposite of what occurred in telenovela adaptations like the CW's Jane the Virgin and ABC's earlier Ugly Betty, Queen of the South starts off looking like a step backward, a show that instead of building a bridge between cultures--we have our Breaking Bad, why shouldn't they?--chooses instead a wall.
  28. The best sitcom this year, and one of the best in a lot of years.
  29. We've seen this before. TBS even goes to great lengths to demonstrate how much it resembles Sex and the City. Except not nearly enough.
  30. [Rollergirls] skillfully convey[s] the ups and downs of everyday life, man trouble, hard partying, athletic rivalry, in an unfamiliar culture. But the show adds a layer of visceral excitement, as superb camera work and editing bring the intensity of the competition into genteel living rooms.

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