Pittsburgh Post-Gazette's Scores

  • TV
For 1,444 reviews, this publication has graded:
  • 41% higher than the average critic
  • 3% same as the average critic
  • 56% lower than the average critic
On average, this publication grades 6.2 points lower than other critics. (0-100 point scale)
Average TV Show review score: 59
Highest review score: 100 Breaking Bad: Season 5
Lowest review score: 0 American Body Shop: Season 1
Score distribution:
  1. Mixed: 0 out of 662
  2. Negative: 0 out of 662
662 tv reviews
  1. A cute enough pilot from writer Emily Kapnek (“Suburgatory”). But is there really a weekly TV series to be had here? Time will tell.
  2. At its heart, beneath all the high-tech whiz-bang CGI, Minority Report is a procedural crime drama with serialized character relationship stories threaded through it.
  3. If the show can rein in some of its more outrageous plot tendencies and focus on music and social issues, it could grow into a Club viewers will want to frequent.
  4. The series does hint at Carlisle's motivation, and maybe the show will get more interesting once his reasons for wanting the president dead are revealed, but the pilot doesn't exactly demand viewers tune in for episode two.
  5. Perhaps in time Helix will develop into something more substantial but in its first two hours it sets up a lot of questions without providing answers or a compelling reason for viewers to stick with it.
  6. Sometimes I think she's brilliant, other times I think she's full of herself. Both sides come through in this fairly dull reality show.
  7. CBS remakes Hawaii Five-0 as just another piece of turn-your-brain-off escapist fare, a loud, action-packed pilot with little heart and less humor.
  8. Constantine seems like a good fit tonally for Friday night companion series “Grimm,” but Constantine will need to more clearly establish its world--and the rules of its world--and better define its characters if it hopes to become a fanboy favorite.
  9. The characters are all caricature-y stereotypes and the jokes are of the ba-da-dum! variety, but the pilot made me laugh more than some other new comedies, mostly due to the performances.
  10. If "South Park" traffics in occasionally brilliant satire, "Lil' Bush" is far more juvenile humor.
  11. As a psychological thriller, it's not terrible--certainly better than Fox's dreadful monotonous "The Following"--but Those Who Kill suffers from character/relationship incoherence.
  12. Not great, not terrible, Welcome to the Family is another occasionally amusing but not really funny family comedy.
  13. It's a cute concept but producers don't seem to have a knack for proper execution, filling time with terribly padded segments--picking teams takes an eternity--and challenges (watching people play chess in the premiere) that, try as they might, don't make for compelling TV.
  14. Childhood's End is more thought-provoking than many Syfy miniseries of the recent past even as it stumbles through plot holes.
  15. For what it is--a small-screen version of a big-screen shoot-’em-up--Gang Related is fine, but it won’t be confused with great TV.
  16. Comfort food appeal to some viewers who could certainly do worse than this series that tends to be more lighthearted (listen for the bouncy music soundtrack), with enjoyably quirky supporting characters. It’s just unfortunate the show’s primary story is often overwrought and obvious.
  17. It often plays more like an action film than a serious interpretation of a holy book.
  18. Viewers drawn to star-crossed romance are most likely to get absorbed in Outlander, which benefits from beautiful production design--great location work with filming in Scotland--but the show also suffers from some egregious exaggerations, especially the mustache-twirling Black Jack Randall, who couldn’t be more like Satan if he had pointy red horns.
  19. Rookie Blue is "Grey's Anatomy" in a police station. And that's about as remarkable as this fairly generic Canadian co-production gets.
  20. There are several intriguing concepts built into Syfy’s Ascension, but the execution is not quite up to snuff in the first episode and infuriating by the conclusion.
  21. The two-hour premiere ends with a big question mark, which may lead me to tune in again but I just wish The Expanse was a little less murky. I'm prone to liking complex TV but The Expanse is borderline impenetrable at times.
  22. Huff is not a bad show, it just doesn't feel sufficiently new. Both structurally and thematically, it shares some similarities to the more outrageous and, frankly, more fun "Nip/Tuck" on FX. [7 Nov 2004, p.TV-5]
    • Pittsburgh Post-Gazette
  23. At best, the show is an average prime-time soap rooted in history that improves somewhat in successive episodes.
  24. Party Down can't decide if it wants to be smart-funny or dumb-funny. Maybe if it does, the party will truly begin.
  25. It’s not a terrible show for fans of crime dramas but it’s not great either, occupying the same mushy middle ground as summer’s “Aquarius” on NBC.
  26. Valerie is still thin-skinned, self-absorbed and occasionally pathetic. Fans wouldn't want her to be any other way, of course, but there's a limit on the variety of ways one can wring comedy from this character premise.
  27. The pilot has its intermittently amusing moments, but episode two, where the trio foments the American Revolution using 2016-era NRA tactics, proves stronger. A third episode involving travel to Al Capone’s Chicago, circa 1919, is fairly lackluster.
  28. Created by writer Justin Spitzer, Superstore has its funny moments as it alternately mocks People of Wal-Mart types while trying to protect the dignity of the store’s employees. It’s difficult for the show to have it both ways. Superstore is at its funniest when it’s also at its most ruthless and offensive, but those moments are few.
  29. Angry Boys will certainly have some appeal to fans of offbeat comedy but it seems unlikely to become a mainstream hit.
  30. It’s unclear if the series will rise above a constant cat-and-mouse game between Wells and Jack, something that seems like it could get old quick.
  31. Bent is not a terrible show but it's not particularly good either.
    • 39 Metascore
    • 50 Critic Score
    Midway through night two, however, the action begins to drag.
  32. Power is fine but it doesn’t live up to its title. It’s not a powerful drama because viewers have largely seen all its tricks, plots and character relationships before.
  33. The Cleaner is the latest in a string of unremarkable basic cable dramas with a brand-name star playing the tough but damaged lead.
  34. Doc Brown has his own clashes, particularly with Dr. Abbott (Tom Amandes), the town's sole general practitioner before his arrival. Abbott is a caricature, over-the-top in his arrogance. He does everything short of twirling a mustache to shout, "I'm the bad guy!" This is where "Everwood" hits a bump....With such realism in the relationship between Ephram and his father, it's a shame series creator and writer Greg Berlanti ("Dawson's Creek") went down such a conventional, only-on-TV path in creating this other adversarial relationship. [16 Sept 2002, p.B-1]
    • Pittsburgh Post-Gazette
  35. There’s still little reason to think anyone is clamoring for this particular reboot.... The new show is not nearly as convoluted, but it shows signs that it could go down that road.
  36. From these four hours it's clear there are few new stories or twists for the show to employ. It's time has come and gone.
  37. With "Tremors," the special effects have always been cheap and the appeal, such as it is, came from the campy humor, particularly concerning the Burt Gummer character. But the TV series, from the same creators and writers as the movies, mostly plays it straight. There's some humor, but suspense is the primary vibe in the first two episodes. [Mar 28, 2003, p.37]
    • Pittsburgh Post-Gazette
  38. The premiere episode is a fairly entertaining, voyeuristic look at a made-for-reality-TV crew, though it's a toss-up as to who's more obnoxious: the bickering crew or their first guests.
  39. So although the details aren't quite right, the concept of Cult remains intriguing. Perhaps, like Mr. O'Bannon's "Farscape," Cult will improve over time.
  40. It is mostly humorless, grave sci-fi, but in the pilot the best moments are the most human.
  41. Unforgettable is completely forgettable because it brings nothing new to the increasingly creaky crime procedural. CBS has gone to that well over and over, and, credit to them, it's worked.
  42. Will seeing a female drug dealer's rise (and potential fall if that bullet proves to be fatal, although I'm guessing it won't be) be enough to differentiate this series, told from a female point of view, and justify in investing in Queen of the South? It does seem like a more complicated, different character story. But plot-wise it's less interesting than, say, "Traffic," or certainly "Breaking Bad."
  43. The show wants to be hip and cool, and it often is, but it makes no pretensions that it doesn't have a heart beating underneath, much like its cool but caring lead character. [22 Sept 2004, p.D-6]
    • Pittsburgh Post-Gazette
  44. Sabrina isn't designed to appeal to adults, and isn't likely to do so. But if you're looking for family entertainment to watch with your kids, you should be able to sit through Sabrina fairly easily - as long as you don't mind some things that are patently ridiculous. [27 Sept 1996, p.28]
    • Pittsburgh Post-Gazette
  45. A silly flight of fancy.
  46. Spartacus worked best when it was an ancient "Upstairs Downstairs" with the house of Battiatus as the "upstairs" component and the gladiator school as the "downstairs." With that element gone, the show has no natural home base and feels a bit unmoored.
  47. Overall, it's a mixed bag as Nurse Jackie settles into what will surely be its latter years without its creators at the helm.
  48. At heart, Killer Women is a procedural drama with a surface-strong female protagonist; scratch the surface and it's the same easy, familiar programming.
  49. How to Make It in America grows more interesting in episodes after the pilot as Ben's world expands and connections among the characters form. But to get that far viewers may need to be: a) Living Ben's lifestyle, b) Remembering their immature years fondly or, c) Have a high tolerance for slackers whose ambition outpaces their drive and/or intellect.
  50. Kate Walsh seemed like a guest star in what should be her show.
  51. The series does try to develop its characters, but Galavant never quite finds a way to ideally pull together its gonzo comedic spirit and musical aspirations.
  52. The Librarians lacks the fun of the first film--seeing Flynn learn to be an adventurer --and feels predictable and rote.
  53. Vinyl drags in its occasionally predictable, too infrequently surprising premiere and invites viewers down a rough road. It feels authentic; it looks and sounds believable. But the situations and characters in Vinyl are overly familiar in this post-antihero, peak TV era.
  54. The result is overly broad and narrow at the same time.
  55. The hybrid style of comedy and drama in "The Chronicle" doesn't quite jell. There's potential, but it hasn't been realized.
  56. In Tuesday's pilot, New Amsterdam reveals itself as a pedestrian cop show with a vampire-like lead character
  57. At its heart, Mind Games is a case-of-the-week procedural with some serialized elements, but it's so dense with chatter there may be no mind tricks strong enough to convince viewers to stay tuned.
  58. Flowers in the Attic plays it safe and a bit boring. This is material that screams for a campy touch, but director Deborah Chow and teleplay writer Kayla Alpert tell the tale with mostly straight faces.
  59. A pedestrian medical drama that sparks to life near the end of the pilot.
  60. Come for the stupid, sexy young things making bad choices; stay, if you must, for the weird, outta-left-field guilty pleasure of an oddball lawyer who waltzes in.
  61. Generally too predictable and slight to merit much attention.
  62. If Firefly weren't from Joss Whedon, the talented, respected creator of "Buffy the Vampire Slayer," this review would probably be a lot more dismissive. Because of his track record -- six seasons of "Buffy," five of them good; the successful and ultimately distinctive spinoff series "Angel" -- Firefly gets the benefit of the doubt despite an inauspicious debut. It's not good, it's not bad, it's just so-so. [20 Sept 2002, p.40]
    • Pittsburgh Post-Gazette
  63. Lizzie Borden Chronicles is basically a cheesey soap with tinges of dark comedy. It's junk but kind of fun junk, if pulpy, bloody melodrama set to anachronistic rock soundtrack is your idea of fun.
  64. The show clearly wants to be like the movie “Soapdish,” but Telenovela can’t quite pull it off. A second episode is considerably less funny than the pilot, a danger sign. The pilot episode has fun riffing on TV stars with swelled heads and telenovela camera trick clichés, and it all plays to Ms. Longoria’s comedic strengths.
  65. If this all seems too precious, well, it is. But the show is saved by Ms. Gummer and a relentless pace.
  66. The show does begin to fill in a few blanks, particularly the immortality angle, in its second episode, but it’s still a slow, sometimes tedious process.
  67. The tone varies wildly from action-adventure to serious costume drama.
  68. Mystery Girls has some fun with viewer knowledge of rumors of disharmony on the “90210” set (yes, Shannen Doherty gets a shout-out) even if it all plays to cat-fighting women stereotype. Spelling comes off both worse (she’s mistaken for a prostitute twice in the first 10 minutes) and funnier (she gets the best lines; Ms. Garth plays the straight woman).
  69. Business buffs may love it, but Shark Tank lacks the lush visuals of "Survivor" and the star power of Trump. It just doesn't have the same bite.
  70. Other than the shorter season and London setting, the story beats and types of twists are nearly identical. This sameness highlights how the show's format, revolutionary when it premiered more than a decade ago, has become formulaic and a little stale.
  71. BoJack Horseman gets the particulars of late '80s sitcoms right and has a few scattershot funny moments but it's mostly not a laugh riot.
  72. "Brothers & Sisters" may find a way to streamline its storytelling and allow viewers to more easily sort out the huge cast of characters (there are at least 10 series regulars), or it may remain an unwieldy mess. Time will tell.
  73. It all seems familiar, which isn't necessarily bad, but it makes the show somewhat stale.
  74. It seems like a typical, sometimes plodding teen soap.
  75. It’s difficult to judge The Almighty Johnsons from its pilot episode, but the blend of humor and Norse Gods lore does fit in well with Syfy’s penchant for light, fantasy dramas, but those series also tend to be fairly forgettable.
  76. The good news: The White Queen gets off to an entertaining start. The bad news: In subsequent episodes it gets bogged down in then-this-happened, then-that-happened jumps through history.
  77. The heart-tugging medical stories and conflicts all feel familiar, none of them delivered with anything that approaches a fresh twist.
  78. The Wire gives so little, it almost begs to be abandoned; then a scene or a smidgen of character development offers a hook that might keep viewers interested. But TV shows, no matter how complex or thought-provoking, shouldn't require that much work. [1 June 2002, p.B-6]
    • Pittsburgh Post-Gazette
  79. '24' continues to roar forward at a breakneck pace, and it does tantalize by dropping clues that keep viewers hooked ... But with the minutiae of love affairs gumming up the works, it's more difficult than ever for viewers -- and the show's characters -- to keep their eyes on the big picture threat that's supposed to drive the series. [26 Oct 2003]
    • Pittsburgh Post-Gazette
  80. Everything in Young & Hungry is predictable, including most of the jokes.
  81. Touch feels like yet another series--last week it was Alcatraz--that seemed like a better idea for a one-shot movie than a weekly TV series.
  82. An OK (but visually unexceptional) pilot that does little to set viewers up for what the show will be on a week-to-week basis.
  83. While appropriately grimy given the 1620s, rural North America setting (Although it was filmed in South Africa), the dour deprivation depicted proves dull over the miniseries’ first two hours.
  84. Despite a poor job of establishing its characters and their relationships (wait, those two aren't a couple?), The Ex-List begins with a strong, romantic premise.
  85. Through the first two episodes it’s just not enough to differentiate this series from so many conspiracy thrillers that have come before.
  86. Where "The Sopranos" has some laugh-out-loud comedic moments, "Brotherhood" is dark, brooding and forever serious. And that grows tedious after a few episodes.
  87. The first 20 minutes of Resurrection are terrifically emotional and engrossing. When the focus is on Jacob and his parents, the show is a real heart-tugger. But then it gets into family soap opera territory (what big secrets have family members kept from one another!) and the mystery returns when another dead person is found to be alive.
  88. The first hour of Heroes of Cosplay is fairly interesting as a study of an unusual subculture. But just how many unique stories are there to be mined from the characters introduced?
  89. The show was never entirely believable and the conceit of having episodes set during actual events--where the characters and/or viewer perceptions benefit from hindsight--felt like a cheat even though it could sometimes also be thought-provoking. The third-season premiere doesn’t shy away from this.
  90. Harmless fluff that won't impress its intended pre-teen audience, but they'll watch anyway. [20 Sept 2002, p.40]
    • Pittsburgh Post-Gazette
  91. Science fiction often is at its best when it raises big questions, but early on it's unclear what the true source of Miracle Day is and where that will take this batch of Torchwood episodes.
    • 54 Metascore
    • 50 Critic Score
    For the most part, the movie is a candy-colored whirl through the shoulder-padded late 1980s.
  92. It's not a bad show, merely ho-hum. Perhaps it will have greater appeal to people who liked math in school, but to me "NUMB3RS" just seems like a "CSI" clone with the quadratic formula tossed in for good effect. [23 Jan 2005]
    • Pittsburgh Post-Gazette
  93. Swingtown isn't just misguided because it's on the wrong network. The show's bigger problem is that the resident "squares" are much more interesting characters than the swingers at the core.
  94. Fahey too often seems cocky and callow. He's so sure of himself, and so superior to everyone else, you could find yourself identifying with the criminal. Luckily, Fahey's performance in the closing moments shows promise for a more restrained future. Let's hope the producers noticed the improvement. [31 Jan 1995]
    • Pittsburgh Post-Gazette
  95. Cinema Verite dramatizes the making of "An American Family," but it dwells too long on the setup and doesn't spend nearly enough time on the public response to the program and the impact that reaction (much of it negative) had on the Louds.
  96. The problem with the show is that it's pretty dull, particularly if you've ever watched any of the similar shows that preceded Alphas. None of the characters feel new, nor do the situations.
  97. "The Good Guys" isn't really good but it is OK if all you seek from TV is bland, comfortable entertainment--the same type of program you were watching 30 years ago.
  98. This comedy is full of stock jokes, stock characters and even a stock premise.

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