RogerEbert.com's Scores

For 248 reviews, this publication has graded:
  • 43% higher than the average critic
  • 3% same as the average critic
  • 54% lower than the average critic
On average, this publication grades 1.6 points lower than other critics. (0-100 point scale)
Average TV Show review score: 63
Highest review score: 100 Louie: Season 4
Lowest review score: 0 Stalker: Season 1
Score distribution:
  1. Mixed: 0 out of 141
  2. Negative: 0 out of 141
141 tv reviews
  1. Legit is still a work-in-progress. Every joke that works is countered by a few that don’t.
  2. The first five episodes of the series are somewhat hit and miss, but Leary fans who miss either his stand-up or hit show “Rescue Me,” should be satisfied, and I can easily see the program working out its writing kinks and getting stronger as the cast gels.
  3. Many of Norma's freak-outs have a black streak of over-the-top humor, and it's in those moments that Farmiga and the show shine. The dramatic material, especially that involving the young cast, still feels slight and unengaging to me.
  4. Watching multiple episodes of Feud makes it clear that it's a solid two-hour movie stretched to an eight-episode series, not due to depth but redundancy. There are elements here that work, but also moments that feel downright mean-spirited.
  5. The Last Man on Earth has a unique, committed comic sensibility. But the pacing of the first hour is a little slack, as Forte returns to the same comic well a few too many times before an inevitable twist gives the second half a different energy.
  6. The overall narrative is a bit lacking, just as you don’t go to a circus show in the hope of seeing all the various acts tied together through storytelling. Yes, there’s a murder to hide, a few secrets for each of the major characters, and Murphy’s overall arc of the outcast who holds more humanity than the “normal people,” but I hope the actual storytelling of American Horror Story: Freak Show improves in subsequent episodes.
  7. Red Oaks too often gets almost satirical in its broad characterization of ‘80s New Jersey with hair and clothing out of “That ‘80s Show.” But when it focuses on its cast and allows them to breathe within the set-up, it can be surprisingly effective.
  8. The premiere is fantastic; a must-see for those willing to handle the gore. Sadly, the wheels start spinning in subsequent episodes as the show lacks the urgency needed to carry its arguably silly subject matter.
  9. It’s a documentary of episodes more than something that builds, although that’s sometimes inherent in the biographical doc genre.
  10. The set-ups in the first few episodes often feel forced, and my hope is that the show does away with them almost entirely. Better Things is at its best when it’s just Adlon and her daughters talking, not when mom is being forced to give a motivational speech.
  11. Some of the performances are thin and I wish the dialogue went through one more rewrite but it’s the narrative here that’s surprisingly fun.
  12. The score is over-heated, the dialogue is more melodramatic, and someone could make a drinking game out of people standing on beaches or cliffs in the wind looking pensive. What saves Broadchurch this season and is likely to keep people from jumping off the bandwagon is the cast, especially the new additions.
  13. If you can get past the clichéd writing and appreciate Legends as a force of sheer cast magnetism and hyperactive camera tricks, it’s a solid distraction from the problems of the real world.
  14. The guys of Workaholics could stand to try a new thing or two.
  15. The Kroll Show sometimes falls flat due to star/creator Nick Kroll’s lack of range and inspiration, but often recovers through guest star power, and, again, commitment to concept
  16. The Maron episode, the fifth, is the best of the bunch, and feels at least somewhat biographical. ... Other episodes have a tendency to feel narratively forced.
  17. Half the jokes are inspired; half the jokes hit the floor.
  18. While the construction of 11.22.63 holds it back from greatness, Franco deserves credit for really committing to the high concept of it all.
  19. Silicon Valley has some very solid laughs but traffics in stereotypes that feel outdated.
  20. It’s all perfectly likable without being overly memorable. Too much of the comedy in Love relies on awkward sitcomish set-ups.
  21. [The first season of ] Togetherness found something fresh and new to say about marriage, relationships and insecurity in the ‘10s. The problem is that season two starts by saying the exact same thing.
  22. The premiere of Girls is perfectly enjoyable without feeling as current or well-written as those first two seasons. The ensemble has always been excellent and they do their best, but my issue with Girls remains tonal.
  23. After three episodes, this show is on a razor’s edge. It could easily tip into a parody of itself, as the writing isn’t strong enough to get us through long passages of dialogue like in “Game of Thrones”. And it needs to stop taking itself so seriously. Have some fun with it.
  24. An interesting mystery is hampered by over-production, scripted interview scenes and other signs of a show trying to please instead of just letting the action unfold.
  25. The pilot of Those Who Kill features the kind of cinematic production values that we've come to expect from cable and the two leads are undeniably engaging, but the writing here is paper-thin, the kind of scripted crime drama that we've seen too many times for it to feel fresh again.
  26. Every time Patriot feels like it’s going to click into its rhythm and start working consistently (such as in some interesting background for Smith’s character in episode three), it derails itself with a wild tonal shift. And, most damagingly, Dorman’s flat performance doesn’t serve as the bridge from the show’s espionage elements to its comedy beats.
  27. Clearly, American Gothic has enough plot for a summer murder mystery, but it doesn’t quite have the style or cast to pull it off with the flair that this kind of guilty pleasure needs.
  28. There’s so much talent here and a bit of promising direction for the characters in that fourth episode that I could see Married turn it around but, to start, it’s a true disappointment, especially given how often Faxon and Greer have made what they appeared in before just a bit better.
  29. American Odyssey is equal parts ambitious and frustrating.
  30. People of Earth does have plenty of moments and personalities to warrant a look. You’ll just wish the whole experience amounted to more than lost time.

Top Trailers