Philadelphia Inquirer's Scores

For 740 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 4 points lower than other critics. (0-100 point scale)
Average TV Show review score: 62
Highest review score: 100 Homicide: Life on the Street: Season 1
Lowest review score: 0 Inconceivable: Season 1
Score distribution:
  1. Mixed: 0 out of 407
  2. Negative: 0 out of 407
407 tv reviews
    • 99 Metascore
    • 100 Critic Score
    The sharpness of the writing and the crispness of the acting demonstrate that cable's best situation comedy has lost none of its bite as it begins its fourth season. [19 Jul 1995]
    • Philadelphia Inquirer
  1. Murder One is, hands down, the season's best new series. Others may be scarier or funnier, but tonight's pilot demonstrates that Murder One is an intense expression of television art.
    • 99 Metascore
    • 100 Critic Score
    Sanders' return is a reminder that Seinfeld is not alone as a significant achievement and advancement in contemporary television humor. [13 Mar 1998]
    • Philadelphia Inquirer
    • 97 Metascore
    • 100 Critic Score
    The Larry Sanders Show is brilliantly back, perhaps better than ever. [13 Nov 1996]
    • Philadelphia Inquirer
  2. The [first episode], along with two other episodes sent to critics, dispels any of last year's feeling that The Sopranos was losing a little steam. They demonstrate a constant ability to surprise. [4 Mar 2001]
    • Philadelphia Inquirer
    • 96 Metascore
    • 90 Critic Score
    It takes about 20 minutes for Lynch's TV debut, an eight-episode series, to wrap you in its clutches. After that, it's as easy to watch as a good Murder, She Wrote, but 100 times more interesting. By the end, you'll feel you know a lot less than you did at the beginning.
  3. The second season of Fargo is just as fantastic as the first. And viewers who didn't catch the first season can easily slide into the second. Some nuances will be lost, but those are minor compared to how good this series is.... Hawley and his writers' greatest strength is incredible control of tone and atmosphere.
  4. An immensely satisfying - and immensely complicated - police drama. [31 May 2003]
    • Philadelphia Inquirer
  5. Among the most stimulating and entertaining series of the last 10 years and far and away the best new network show of the 1992-93 season.
  6. Transparent's second season is even more visceral, real, and funny than the first.
  7. The perfect marriage of television and literature.
  8. Foul-mouthed, violent and potentially depressing with its unvarnished characters, The Shield also shocks your heart with pounding action and tickles your brain by presenting a cops-and-robbers world where almost everyone is at least morally ambiguous, at worst corrupt. [12 Mar 2002]
    • Philadelphia Inquirer
  9. It's no lie to say you don't get this sort of stylish and challenging stuff very frequently on TV, adult subject matter treated maturely in a series that makes you squirm and think.
  10. It's a deeply moving, unforgettable experience.
  11. Poignant, provocative, insightful, thoughtful, penetrating, compelling, illuminating, surprising, literate, stimulating, inspiring, profound, visually impressive and sublimely entertaining. [25 Aug 1994, p.E01]
    • Philadelphia Inquirer
  12. Where The Comedians feels forced, Louie is at once more natural and more surreal--and one of the best comedies on television.
  13. It's innovative, shockingly clever, sophisticated, sexy, and beautifully executed. In other words, it's the opposite of virtually every sitcom in prime time.
  14. Masterfully written by Chibnall and brilliantly executed by a superb ensemble cast.
  15. Sherlock strikes a perfect--and delicious--balance among comedy, pathos, murder, and mystery.
  16. The performances, in fact, are so uniformly strong and the direction so deft that it's possible to overlook a plot that, like The Killing (and Netflix's new thriller Marcella) introduces a few too many Law & Order-like plot twists to be totally believable.
  17. One thing Atlanta does particularly well is to convey the shakiness of an economy in which a child of working- or middle-class parents can struggle, even end up homeless, setting it against the backdrop of the less-official economy on which many rely. That Atlanta manages to be drily funny, too, is a gift.
  18. By opening up the drug world, transforming political constructs into complex, fascinating human beings as lovable (and hateful) as you and me, The Corner does compelling public service. It should be required viewing for public officials. [16 Apr 2000, p.101]
    • Philadelphia Inquirer
  19. Strangely theatrical and disappointingly hollow. [29 Sept 2002, p.H03]
    • Philadelphia Inquirer
  20. The predicaments of Jack and those unlucky enough to be associated with him are wholly preposterous. But the show's creators make it so much fun to watch that only the fussiest fussbudgets protest the fantasy.
  21. A marvelous cast, including Jeffrey Tambor, Jason Bateman, Portia de Rossi, Jessica Walter and Alia Shawkat. Offbeat situations and innovative direction. Your humble critic, however, finds one problem: It's not very funny. [2 Nov 2003, p.H01]
    • Philadelphia Inquirer
  22. Let's get this straight. Everybody Hates Chris is not the Second Coming. But it is one of the season's best new series.
  23. In so many ways, it's as good as television gets.
  24. Fleabag's a heartbreaker, sometimes hilariously so.
  25. TV's best sitcom. [3 Jan 2004]
    • Philadelphia Inquirer
  26. Treme takes us beyond the tourists' view, beyond the canned performances and ersatz Big Easiness, into the soul of a uniquely fragile American city built on a bedrock of pride.

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