Pittsburgh Post-Gazette's Scores

  • TV
For 1,205 reviews, this publication has graded:
  • 42% higher than the average critic
  • 3% same as the average critic
  • 55% lower than the average critic
On average, this publication grades 5.9 points lower than other critics. (0-100 point scale)
Average TV Show review score: 59
Highest review score: 100 Breaking Bad: Season 4
Lowest review score: 0 Momma's Boys: Season 1
Score distribution:
  1. Mixed: 0 out of 565
  2. Negative: 0 out of 565
565 tv reviews
  1. No question, "Big Brother 2" makes for better TV than its boring predecessor, but it's still no "Survivor." [7 Jul 2001]
    • Pittsburgh Post-Gazette
  2. Mostly the show, as these reality series are wont to do, follows the dysfunction within the family.
  3. It's one thing when a TV show sets up a concrete mystery whose resolution you have faith will come, something like, "Who killed Mr. X?" But it's quite another when the show is so abstract that you aren't even sure what questions it asks. Kevin McKidd ("Rome") is an excellent actor, and it's only his skill that makes Journeyman tolerable.
  4. David Alan Grier, star of the new Chocolate News gets points for moxie, but the series fails on too many other counts.
  5. Most of the young, relatively untested actors in Ground Floor are not nearly as talented at creating endearing characters; in the first two episodes the characters are mostly just ciphers.
  6. "Meadowlands" demands too much of a slog for too little in return.
  7. Networks want their shows to look like movies these days, but the Intelligence pilot makes the border of Pakistan and Rock Creek Park in Washington, D.C., both look like Vancouver, where the pilot was filmed. It's a minor but telling detail in this unimaginative rehash.
  8. While Ms. Leigh’s character is a pastiche of cliched archetypes, Mr. Ido’s taxi-driving scoundrel is a charmer. But it will take more than charm to watch Taxi Brooklyn and not feel like you’re being taken for a ride you’ve been on too many times before.
  9. Allegiance is not terrible, although its characters are paper-thin, and, beyond feeling derivative, the show isn’t all that credible.
  10. George Lopez’s Saint George [is], another mediocre, three-camera sitcom with nothing new to say.
  11. Surviving Jack allows for a smidgen of heartfelt earnestness now and again, but it’s less heartwarming than the steadily-improving “The Goldbergs” because at heart Surviving Jack is the one-joke premise of its title: My dad’s a jerk.
  12. The same old thing.
  13. Elf offers some slight, warmed over charms.
  14. Sheen's obvious, minimally funny new sitcom.
  15. The characters can better be distinguished from one another than the ciphers in "Three Rivers" but they still need time to develop and become something approaching realistic.
  16. It's an (occasionally) frothy mix -- comedic moments tumble into serious scenes of forensic examination -- that's not altogether terrible, but neither does it beg to be watched on a regular basis.
  17. She's not a Ewing, but grandma Ryland (Judith Light) is far more entertaining than any of the young hunks fighting around the pool at Southfork.
  18. Though there are surprises and crosses and double-crosses in the show's waning minutes, Alias fails to make me care much about its characters, their future or understanding who the good guys are and who the bad guys are. "La Femme Nikita" kept these mysteries beguiling in its early seasons; Alias can't manage to do that in its first episode. [30 Sept 2001, p.TV-5]
    • Pittsburgh Post-Gazette
  19. They're a largely unlikable lot of crooked cops, adulterers and Hopper's long-winded, nutso music mogul. It's one thing to spend a movie with these characters, but it's quite another to tune in for 13 weeks.
  20. The writing in "Old Christine" is occasionally funny in a low-key way, but too often the show is a bore.
  21. It's one thing to laugh at characters on TV shows who behave foolishly, who deserve to be mocked. Valerie's crimes for the sake of comedy are nothing more than aging with an undiminished Hollywood ego. It's a little funny at first, but it quickly turns sad, something you want to look away from, not laugh about. [2 June 2005, p.WE-37]
    • Pittsburgh Post-Gazette
    • 39 Metascore
    • 40 Critic Score
    The CGI dinosaur renderings vary in quality, but the plot is fairly predictable from the get-go.
  22. There's little that's surprising let alone interesting about Carpoolers despite the best efforts of an enthusiastic cast, most notably O'Connell.
  23. This new season seems more forced than usual.
  24. As far as medical stories go, there's not much in Saving Hope viewers haven't seen before (and better) elsewhere, including on "Grey's Anatomy."
  25. "What About Brian" isn't a terrible show, it just doesn't offer enough unique reasons to make a weekly appointment with this gang of friends.
  26. If you're bereft without new episodes of "House" this summer and willing to settle for a pale imitation, there's always Fox's Mental.
  27. It almost feels like a weird, little indie film if indie films were somewhat flat and predictable.
  28. If Scorpion were better suited to today’s TV landscape instead of bringing to mind a TV series from 30 years ago, it could be an of-the-moment series worth watching. But it’s not.
  29. With a premise that's at least 20 years past its "fresh until" date, the issues in Star-Crossed get handled with mostly predictable, rote exploration to the point that one has to wonder, does this show matter? Probably not.
  30. It's one crazy mess of a TV "event series" that doesn't make much effort to clarify what it's about in the early going, plopping viewers into two concurrent plots that will presumably intersect at some point.
  31. This retelling of the Arthurian legend feels overly familiar and there's just not enough that's new or different to make it worthwhile.
  32. The show never allows itself to stand down from ill-fated, continuous attempts at heightened hilarity.
  33. NYC 22 is very much a prototypical CBS show--it lacks ambition but it's not terrible.
  34. Viewers who don't mind being dragged along for a ride, who are gluttons for punishment ("X-Files" faithful, perhaps), may want to join in John Doe's search. For the rest of us, Doe will remain the personification of an unsolved mystery. [20 Sept 2002, p.40]
    • Pittsburgh Post-Gazette
  35. If you're able to get past the ridiculous premise--and, admittedly, I was not --Outlaw still suffers from other problems, including two-dimensional supporting characters.
  36. It suffers from predictable jokes that are more likely to conjure a hint of a smile, not a belly laugh.
  37. As anyone who has used an old photocopy machine knows, a copy of a copy of a copy is rarely as good as the original. Suspect Behavior comes across as a show in search of a purpose beyond the obvious brand extension.
    • 43 Metascore
    • 40 Critic Score
    Someone more philosophical than Shatner might have ruminated on the nature of reality in the world where technology can make anything seem real. But the space cowboy opts instead for action -- often shot in sluggish slow motion -- and humor, some of which seems blissfully unintentional. [18 Jan 1994]
    • Pittsburgh Post-Gazette
  38. Traffic Light seems to want to be a male "Sex and the City" or "Entourage" without the Hollywood backdrop. But the scrapes these guys get into are more recognizable and more cliched than what the "Entourage" guys encounter.
  39. The Salem pilot is rather plodding except when occasionally punctuated by these more gonzo scenes.
  40. Fans of this hit-or-miss crime serial--and of Linden and Holder, in particular--may want to stream these final episodes just to see what kind of miserable state the show leaves poor Linden in, but The Killing long ago ceased to be required viewing for cultural currency.
  41. Every reality show needs a mix of those you cheer for and those you jeer against, but "Texas Ranch House" has too many of the latter.
  42. Great TV always flows from the specificity of a show's characters; "Happy Town" traffics in banal generalities.
  43. The series improves slightly in a sketch that's filmed backstage where the improv comics are filmed from above sliding around on the floor on a set designed to make them look like they're standing upright.
  44. Tonight's premiere is often a huge time-waster, but when it's not boring viewers with the umpteenth meet-the-judges segment and sticks to introducing wacky inventors, it's kind of a hoot.
  45. It's basically a one-joke show--a guy in drag plays the leader of a clique of mean girls--that pales compared with the smart unpredictable chaos of comedy in "Getting On."
  46. "Runaway" is no "Everwood," which featured complex characters and an exploration of social issues. "Runaway" is far more pedestrian -- "The Fugitive" with a family -- but it may not be any better of a fit with its lead-in "7th Heaven."
  47. Crossbones doesn’t offer compelling enough drama to complement its banal brutality.
  48. Fans of “CSI” shows will likely warm up to this latest franchise extension and viewers of more character-driven, less preposterous drama will ignore it like they have past “CSI” shows.
  49. Partners is your basic odd couple comedy with Mr. Grammer attacking his part with his trademark zeal and Mr. Lawrence wandering through the motions in somnambulant fashion. It’s a stark energy contrast but a secondary problem for Partners, which mostly stumbles on predictable plotting that flows from pedestrian writing.
  50. It's all cheesy and silly with minimally adequate performances but, eh, what do you expect from a show in this genre.
  51. If April’s work world is silly, her home life is uninvolving because it’s barely sketched out and seems like an afterthought.
  52. Given the ubiquity of "Real Housewives" shows, it may be a sign of equality for a show about househusbands, but adding to the lame reality show glut does not feel like societal progress.
  53. It's another one of those dismissable, disposable, oh-so-slight comedies.
  54. Do No Harm is a ridiculous show with plenty of lines of groaner dialogue.
  55. A disappointingly sex-obsessed sitcom.
  56. It’s got a worthy premise that’s larded up with unfunny, over-the-top characterizations.
  57. It appears Freddie Prinze Jr. studied at the Matt LeBlanc School of Acting given his mumbling performance and nice-guy-cum-neanderthal portrayal of Freddie Moreno.
  58. The Easy Money production values are low all-around but they wouldn't be as noticeable if the characters and tedious story sparked to life. They don't, and it doesn't.
  59. It's less of a flash mob and more of (one hopes) a flash in the pan, the one-and-done special it deserves to be.
  60. When it comes to both character and story, there's really not much in "Conviction" viewers haven't seen before.
  61. It's a silly time-waster with terrible commentary by hosts Jamie Kennedy and Jessi Cruickshank.
  62. Merlin looks, well, typically British with shoddy production values. Worse, it tells dull stories.
  63. The lead actors are slightly improved -- although Erik von Detten's hair is more expressive than his face -- but the story plods like one of the less graceful dinosaurs on screen.
  64. Showing the evidence really adds nothing as the story twists, turns and contorts itself in an attempt to keep viewers from tuning out before the hour is up.
    • Pittsburgh Post-Gazette
  65. At first glance... it comes off as silly sci-fi, a not-so-intriguing series that wades into all-too-similar waters as two other fall shows. The difference in this one is that the water is noticeably more shallow.
  66. "Vanished" is a show that should leave viewers begging for more, but instead engenders more of a shrug because nothing in the pilot is convincing -- not the characters, not the setting, not the performances.
  67. A show that's more boring than funny, an investment of entertainment time that's not worth making.
    • 39 Metascore
    • 30 Critic Score
    Zero Hour is a terrible show. But for viewers who long to mock or hate-watch and for "Da Vinci Code" fans who like to be dragged along on a crazy ride to Crazytown, Zero Hour is a hoot.
  68. By the end of the third episode of the second season there have been multiple hookups and breakups, enough to make your head spin or bore you to tears. Alas, I found myself experiencing more of the latter.
  69. The show squanders any high-mindedness with ridiculous shoot-'em-up scenes reminiscent of any cop show circa 1979.
  70. It's difficult to imagine many "Dancing" viewers will be suckered into watching this unimaginative, predictable comedy series for more than the first couple of minutes.
  71. Other than re-living some of Napoleon's favorite catchphrases from the 2004 movie, there's not much enjoyment to be gleaned from this obvious, unfunny episode.
  72. It's all a bunch of mush, but I suspect it's mush that will find a receptive audience.
  73. I only made it through the first hour and then I gave up.
  74. There's nothing wrong with TV Land trying to revive the old-school, multi-camera sitcom but the pilot for this show wouldn't have cut it in the 1980s.
  75. A bigger problem is that Super Fun Night still isn’t all that funny.
  76. H8R feels contrived whether there's a happy ending or not, so there's not much point in watching except perhaps for the initial confrontation between the hater and the object of his/her scorn if that's the kind of uncomfortable drama you crave.
  77. Here comes "Trouble," big, bad, ugly ratings trouble. [6 Oct 2000, p.44]
    • Pittsburgh Post-Gazette
  78. Like so many of these relationship reality shows, The Bachelor is cheesy and the whiff of desperation wafting off the contestants is strong. A preview for future episodes promises jealousy, back stabbing and cat fights as the bachelorettes vie for the main man...What do you want to bet this one won't make the National Organization for Women's Top 10? [22 Mar 2002, p.36]
    • Pittsburgh Post-Gazette
  79. [A] silly, unnecessary reboot.
  80. I suppose sadomasochists or anyone craving abuse will enjoy "Hell's Kitchen," but I won't be tuning in again. [29 May 2005]
    • Pittsburgh Post-Gazette
  81. Love in the Wild is undeniably a waste of time and brain cells.
  82. Dresden's investigations amount to a lot of ho-hum hokum... and his relationships are largely paint-by-number bland.
  83. Kath & Kim is based on an Australian hit series of the same name but this Americanized version is an unpleasant way to pass a half-hour.
  84. Lousy writing and stale characters rule in Malibu Country.
  85. Subtlety is not this show's strong suit. That lack of tonal balance dooms the show.
  86. It gets bogged down by so many procedural elements that all the character moments get squished and forced out around the edges, resulting in an uninteresting blob of an overly familiar TV show.
  87. Mostly it's the story of a sex-starved, immature, lazy guy who flings dog poop into his neighbor's yard. NBC has done something similar by inflicting this show on the viewing public. [24 Sept 2002, p.C-6]
    • Pittsburgh Post-Gazette
  88. It feels both orchestrated and dated, like a show whose time came and went around the same TV era that "Home Improvement" aired in.
  89. Romijin... [is] too cold and aloof to play the lead.
  90. The pilot is not that funny as it trades in predictable gags about a woman who's competent at the office but a mess in her personal life.
  91. With Gigolos, Showtime takes a topic that should be provocative and turns it into nothing more than "The Real Man Whores of Las Vegas."
  92. Hey, with a name like Charlie's Angels, at least viewers have a pretty good idea of what they're going to get: action, attractive women and gorgeous locations--but not much else.
  93. The show is inoffensive, tedious pabulum with forced postal humor.
  94. Twists begin to pile up like they're falling out of a How To Write Noir handbook. And that may be the show's biggest problem: It feels contrived, which makes the audience feel manipulated.
  95. The Eastwick characters are fairly generic types who are too bland and predictable to be involving.
  96. "Just Legal" is just tedious.
  97. The primary problem with all this bragging is that it takes time away from seeing the designs, which would seem to be the show's purported raison d'etre.... Million Dollar Decorators also suffers from feeling completely constructed.

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