RedEye's Scores

  • TV
For 198 reviews, this publication has graded:
  • 62% higher than the average critic
  • 5% same as the average critic
  • 33% lower than the average critic
On average, this publication grades 3.8 points higher than other critics. (0-100 point scale)
Average TV Show review score: 69
Highest review score: 100 Looking: Season 1
Lowest review score: 0 Rob: Season 1
Score distribution:
  1. Mixed: 0 out of 146
  2. Negative: 0 out of 146
146 tv reviews
  1. Like Spader, Collette is fascinating to watch; there's always so much happening just under the surface.... Show creators Alon Aranya, Omri Givon, Rotem Shamir and Jeffrey Nachmanoff pack the Hostages pilot with a ton of side plots.
  2. Live Another Day starts its 12-episode run in a typically gripping if superficial and improbable fashion, but you'll get no complaints from me.
  3. There's no doubt that The Blacklist will present a terrorist case of the week. But the marvelous action sequences and intriguing plot twists should lift it above any standard procedural.... If none of that interests you, Spader's magnetic performance alone is enough to warrant at least a couple looks.
  4. Thanks to the rock solid performances of Bello, O'Byrne and co-stars that include Kirk Acevedo, Kenny Johnson and Chicago homeboys Tim Griffin and Aidan Quinn, Prime Suspect rises above the formula network procedurals that focus more on forensics than good, old-fashioned grunt detective work.
  5. [An] exciting but frustrating spy thriller from former CIA employee and writer-executive producer Joe Weisberg, skillfully captures the anxiety of the age.
  6. When her Airbender training is postponed, Korra travels to Republic City, where Aang's son Tenzin lives, so he can teach her. And that's when the fun begins.
  7. The gang delivers a ton of mostly low-brow laughs, but they're laughs nonetheless.
  8. Despite some flaws, Broadchurch is beautifully filmed, sharply directed and intensely acted.
  9. Miller is infinitely watchable as the twitchy detective, and I'm sure Liu will bring more to Watson if she's given the chance.
  10. Spivey gives her stars so much better material stemming from the parents' self-doubt about everything from doing right by their daughter to still rocking a tight skirt (Reagan) to buying the right cheese at the overwhelmingly huge supermarket (Chris).
  11. It's epic, hilarious and totally tasteless.
  12. Coleman's rich performance matches Capaldi's as Clara struggles with the regeneration of her Doctor.... The Doctor may be different, but he's as entertaining as ever.
  13. Hints of a deeper mythology are revealed, too, suggesting that Helix will move beyond its stop-the-virus story into something even more intriguing. In the meantime, it's a suspenseful, scary thriller.
  14. Scheuring gets sidetracked by the trite redemption stories of a hooker (Conor Leslie) and a Canadian Mountie (Marton Csokas). But those are small hiccups in this entertaining, expansive tale of one man's fight to keep his humanity, which he discovers is more valuable than all the gold in the Yukon.
  15. Dallas is just as superbly soapy as ever, but you have to wonder whether the show can survive without its legendary star.
  16. None of this, of course, is cutting edge new. But if you buy into the show's out-there fantasy of the suburbs--and I do, because I fear them--then you'll be amply entertained.
  17. [Bean's] nearly the only reason to watch this retread mashup of team-based crime/spy shows and the "Bourne" films.
  18. Most of these characters are by-the-numbers denizens of any Western. Thankfully most of the actors make them more interesting than the sometimes atrocious dialogue should allow.
  19. The mockumentary soars more than it crash lands.
  20. Some might say the show is overstuffed with stories, but I had no problem following the various strands, even if some were less interesting than others.
  21. Necessary Roughness hasn't scored a touchdown yet, but it's early in the game.
  22. While its glimpses into the democratic world of piracy are interesting, Black Sails could cull a few plot barnacles and give viewers more action.
  23. While well acted and artfully shot, it suffers from message movie traps.
  24. [Broad City] feels like a series of sketches that often hit but sometimes miss.
  25. Despite the familiarities, the cheerfulness of this group helps the show overcome its predictability and other faults.
  26. Marco Polo flits between storytelling styles without completely tying them together as successfully as "Game of Thrones" does.... By the fifth and sixth episodes the action picks up, the intrigue deepens and the stakes some higher.
  27. The former "Dawson's Creek" hunk provides much of the charm and limited punch lines until Apartment 23 starts to find its way in later episodes.
  28. [Todd Ray's] passion for the peculiar is praiseworthy, and erases any misgivings that the venture is exploitation at its most blatant. Still it's not that easy to watch a guy called Morgue stick a hook in his nose until it comes out his mouth.
  29. When it really sails, it cuts through the waves swiftly. But it loses wind so many times the thrills come only sporadically.
  30. The Inbetweeners delivers moments of humor equal to all those other shows--mostly from the physical comedy--but overall it's too wimpy to make its own mark.
  31. Some of the dialogue is groan-worthy, some plot turns totally predictable and some of the soapy silliness is just, well, silly. But J.R.'s Dallas is still a hoot.
  32. NBC's The New Normal has its share of stereotypes and crass jokes that straddle the line of bad taste. But it's also sweet and, dare I say, funny.
  33. There isn't anything too deeply intellectual here because the action moves the plot. And "Strike Back" has action to spare.
  34. Salem as a whole reflects the difference in the work of West and Montgomery. Yet its wildly uneven premiere has enough going for it to make me watch at least another episode.
  35. It isn't consistently funny--and it definitely isn't as daring or groundbreaking as advertised.
  36. It's often dull and heavy-handed. Rhys Meyers is burdened with purposefully heightened dialogue that sounds silly at times. His Dracula is meant to be irresistible, but he's just plain creepy.
  37. The ambitious series finds a nice balance of slapstick and suspense. You might feel cheated if you're expecting the usual setup and joke, setup and joke format of many American sitcoms, but there are plenty of surprises and laughs.
  38. The show is edited almost like a sitcom to draw out maximum humor, with cutaway interviews of cast members at just the right moments to reinforce their folksy philosophies. One could complain about the gender stereotypes at play, but the roles are so exaggerated here it seems the show and the Robertsons are mocking those biases.
  39. The short, 41-minute opener (I'd DVR it and fast-forward through the commercials) is slickly filmed, generally well acted and ends with an intriguing revelation. But so little feels new and fresh.
  40. It's all very new-agey and a bit pretentious.
  41. A tantalizingly juicy soap opera.
  42. If only writers John Brownlow and Don Macpherson focused more on Fleming's wartime spy-jinks than on his extended mating dance with the already married and cheating Ann.
  43. I can't help but believe that if this new series focused on the dark, foreboding tone in its asylum scenes, it could become a powerful, trippy 9 p.m. drama.
  44. Sparks fly, parts break off, hydraulic fluid sprays. At least the episode ends with 10 minutes of awesome.
  45. The hauntings are staged for maximum creepiness; the show (and James) look great.
  46. Horowitz and Kitsis are clever and playful in how they insert the fairytale characters into the present day, which kept my interest even when, as I said earlier, I was chuckling.
  47. The Neighbors revives an old storyline used in everything from the the "SNL" Coneheads sketch to "Third Rock from the Sun." It just doesn't do it as well.
  48. These gals are at times so self-absorbed it's difficult to feel much for them when things don't go their way.
  49. It's fun to look at, but there's not a lot of substance underneath.
  50. Missing barely winks at the silliness it slings.
  51. While Prosecuting Casey Anthony does a decent job of re-creating the trial and media frenzy surrounding it, it fails to offer theories as to why the jury didn't convict her of murder.
  52. The only thing that separates this bland cop drama from others is that Gloria is also a divorced single mom with two kids who lives with her recovering drug abuser but looks-good-in-a-towel brother (Chris Payne Gilbert).
  53. Tonally, it's all over the place.
  54. The show still feels like it's coasting off the success of those super-charged early seasons.
  55. Both believable and appealing as the hard-bitten homicide investigator, Lehman provides the only real motive for tuning in.
  56. Despite fine acting from Cumberbatch and especially Hall and rare moments of comic relief, this adaptation of Ford Madox Ford's novels feels heavy and suffocating.
  57. Despite its historic gravitas and scrupulous attention to period detail, Spies of Warsaw never really ignites.
  58. The addition of Chicago native Hudson is a masterstroke, but with all that other melodrama, Smash remains a hit-or-miss proposition for me.
  59. The M&Ms are brutal and might have set Monday Mornings apart as a psychological examination of regret and human error. But in the three episodes sent for review, producers David E. Kelley and CNN chief medical correspondent Dr. Sanjay Gupta (adapting this from his 2012 novel) instead overdose on the same sappy storylines we've seen before.
    • 49 Metascore
    • 50 Critic Score
    "Law & Order" mastermind Dick Wolf doesn't blaze any new trails with his latest effort, but at least he's getting out of the courtroom and precinct house.
  60. OK, so I'm having a real problem with the idea that Bridget could get away with this switch for even one second. If you can look past that, you'll still have to deal with a story so dense it takes a couple long expositional scenes to explain it all.
  61. BFF uses the most obvious male-female cliches.
  62. Sounds promising, but the premiere falls flat.
  63. If the writers relax their death grip on that formula and Handler stops choking the proceedings, Are You There, Chelsea? might be worth another look.
  64. The movie holds these men and women up as heroes, but it makes them rather bland cardboard cutouts.
  65. Johnston, Faison, Knight and Basche have their moments, but more often than not they hammer the jokes home, mugging insufferably as they do so.
  66. Not only is the production harmed by its overloaded pilot and just fleeting moments of originality, its visual effects and alien makeup design are wildly inconsistent. Despite all this, Defiance grew on me the more I watched.
  67. The HBO special comes off more as another managed attempt to forge the legend of Queen B.
  68. A show about a hot gay couple who are both cops would have been a lot more interesting than the umpteenth light police procedural USA has delivered.
  69. I get the feeling Grace will always do the right thing, which is going to make The Mob Doctor predictable and not all that entertaining.
  70. In seriously exploring what drives people to kill, Hannibal serves up a meal too heavy to enjoy each week.
  71. By pulling the curtain back on the magic of Neverland, Willing has stripped all the fun from a marvelous classic.
  72. Get on The Client List only to see some ripped abs; everything else is nonsense.
  73. Reign isn't half bad at times with its marvelous costumes, palace intrigues and Follows' delicious take on Catherine. But the minute you start getting into fantasy, you're yanked right out by the contemporary music and other oddities—like a montage of giggling gals putting on makeup.
  74. True Blood still entertains with crackling dialogue and about half its plotlines, but it's starting to feel a little long in the fang.
    • 53 Metascore
    • 50 Critic Score
    The premise is fascinating enough to keep viewers' attention, if only to see what numbers Charlie will spin next. But some kinks need to be worked out before "Numb3rs" will add up.
  75. Unlike "Archer" or "Sunny" or FX's "The League" and "Wilfred," Unsupervised refuses to go for the throat. And that makes it unfunny.
  76. You're likely to understand Fox's hesitation with The Goodwin Games after seeing the premiere, which introduces the characters and the premise, but with only a few laughs.
  77. Much of the writing here is dreadful; scenes go nowhere while thinly developed characters pop in and out of the action--although there is little action early on.
  78. Chozen will get more compelling once it focuses on that feud over loutish buffoonery and references to prison sex--which aren't that funny even the first five times they're made. For now, though, it simply mines the gay rapper premise for cheap laughs.
  79. As an exercise in recreating a noir drama, Mob City has all the trappings we've seen better in "L.A. Confidential" and other projects, but little of the thrill.
  80. [King & Maxwell] will live and die on the casting--because everything else about it feels as stale and standard as week-old white bread.
  81. [A] stinker of a family sitcom.
  82. The Glee Project feels like an exercise in ego for the folks running the show. There's a whole lot of playing to the camera going on amongst the professionals, especially from choreographer Zach Woodlee and Murphy himself.
  83. Sad to say, another round of Black Friday madness would deliver more laughs than this brainless new sitcom.
  84. Seems to me she's [Alana's mother June is] desperate to stay in the spotlight. And all I can say to that is, "Honey, bye-bye."
  85. Everything feels like a put-on; nothing seems plausible.
  86. Watch it to laugh, and you'll have a lot of fun.
    • 31 Metascore
    • 25 Critic Score
    The show had all of the potential of "Idol," but Fox blew it by forgetting these words of wisdom: If it ain't broke, don't fix it. [15 Aug 2005]
    • RedEye
  87. Liz & Dick is, simply, a joke.
  88. Charlie's Angels is as absurd as the original 1976-81 series that launched the careers of Jaclyn Smith, Kate Jackson and Farrah Fawcett (and her hair).
  89. All in all, A Royal Romance offers some OK acting of a dull story.
  90. The office gang from Free Agents is anything but funny.
  91. Nothing has really changed.
  92. I'd rather babysit a dozen children between the ages of 2 and 10 then sit through more of this.
  93. ABC, you can do better than this drivel you call Work It.
  94. Rob is clumsy and uncomfortable, not to mention completely devoid of chemistry among its actors or subtlety in their delivery of "jokes."
  95. Anger Management is a colossally wasted opportunity for both Sheen and FX.

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