RogerEbert.com's Scores

For 282 reviews, this publication has graded:
  • 45% higher than the average critic
  • 3% same as the average critic
  • 52% lower than the average critic
On average, this publication grades 1.1 points lower than other critics. (0-100 point scale)
Average TV Show review score: 64
Highest review score: 100 Better Call Saul: Season 3
Lowest review score: 0 Stalker: Season 1
Score distribution:
  1. Mixed: 0 out of 164
  2. Negative: 0 out of 164
164 tv reviews
  1. Ezra Edelman’s stunningly ambitious, eight-hour documentary is a masterpiece, a refined piece of investigative journalism that places the subject it illuminates into the broader context of the end of the 20th century.
  2. Hannibal is thematically brilliant and dense in ways that most network television is not, but it wouldn't remotely work without its committed, incredibly talented cast. Dancy and Mikkelson continue to redefine these characters to the point that they're making them their own while Fishburne, Caroline Dhavernas, and another great guest turn by Gillian Anderson elevate the overall ensemble.
  3. Veep starts with four episodes as perfectly conceived and executed as ever.
  4. HBO’s Show Me a Hero is the TV event of the Summer, a mini-series that plays like a great American novel or a lost Sidney Lumet movie. Over six hours, writer/creator David Simon and director Paul Haggis craft a piece dense with political machinations that somehow never loses its focus on the people who get caught up in the web of public policy decisions and the people who make them.
  5. Fargo is back and it’s still just as smart, fun, shocking and brilliant as anything on television.
  6. You’re the Worst is one of the best.
  7. The show feels more thematically, almost philosophically, confident this year.
  8. It sounds like something out of NBC’s Must-See TV but Glover and his talented team of writers not only make it feel real, they make it feel essential.
  9. The filmmaking always crackles. Every song choice, every intimate home movie, every personal moment--they have been carefully chosen from eight years of research for maximum impact.
  10. This is confident, clever, fantastic television. It doesn’t have a trio of characters as instantly vibrant as the three at the core of season one, and it doesn’t have a premiere episode that will make jaws drop like last time around, but the first four episodes develop into something remarkable of their own, again thematically referencing back to the last trip to the snowy North, but in its own, mesmerizing way.
  11. It is distinctly its own fascinating thing. And with the addition of great supporting performers like Frank Langella to a narrative arc that grows more captivating with each episode, it could end its third season as the best drama on television.
  12. It is Agatha Christie meets "The Wire," and it's one of the best things on TV in an already-great year.
  13. The writing on Better Call Saul is as tight as any show on television, with every scene feeling like it has thematic or narrative purpose without being overwritten.... Of course, the writing is helped by a cast who seems even more confident this year.
  14. They are father, mother, friend, co-worker, husband, wife—as well as being spy and killer. It is that depth of character and nuance in the writing that elevates The Americans, along with its willingness to offer stunning narrative developments.
  15. Every element of this show remains among the best on TV, but what struck me most about the first two episodes of season three was the deliberate, confident pacing.
  16. By now, it feels like we know Philip and Elizabeth, but there are shades to these characters that the writers and actors are still exploring, still developing, and still revealing to viewers. They are two of the richest characters not just on TV now, but in the history of the medium. And they still have more stories to tell.
  17. Nearly everything about The Night Manager works, from the high-powered cast to the gorgeous locales. And it’s thematically dense as well, as le Carré and Bier examine the games people play with each other to get what they need, and how far we’re willing to go to deceive for the greater good.
  18. The Knick is the most detailed show on TV, but by grounding the characters in timeless themes--addiction, class, race, desire, competition--the show transcends its undeniable craftsmanship to become something even greater, something uniquely incredible in today’s TV world. In arguably the best year of television to date, it still stands out.
  19. By the end of the season, Master of None is so confident in its tone and execution that it almost feels like a show in its fourth or fifth year.... Yes, this year of Peak TV continues. And this is one of its best shows.
  20. American Gods will be an overload of personality for some people. And yet there’s more powerful, memorable ideas and images in these first four episodes than most shows contain in their entire runs. It’s a series that defies traditional description or viewing. As Anderson’s character says to Shadow Moon, “Don’t fight gravity.” This show is gravity.
  21. HBO's program is not just an actor's showcase for two greats. It is dense, complex, rewarding storytelling, heightened by a sense of location from its writer and director that is mesmerizing and a character-driven storytelling aesthetic that brings to mind great films like David Fincher's "Zodiac" and Bong Joon-ho's "Memories of Murder."
  22. Breathtaking. ... Great visuals, complex themes, incredible performances—maybe there are ways to write about The Leftovers. And yet there’s still something about this program that can’t be put into words. There’s something almost religious about in the way you just need to see it, feel it, and believe.
  23. As they have for three years, the blend of function and character within the dialogue is breathtaking. One of the best shows of the last several years feels as creatively vital as ever.
  24. On every level, Bryan Fuller and the team behind Hannibal are elevating what we should expect from network television.
  25. It is a work of art that connects both moment to moment, many of which are as funny as anything I’ve seen on TV this year, and something that works as a comprehensive whole.
  26. Overall, this is not a piece designed to “expose” the truth behind the OJ Simpson case. It’s more about how exposed the case was in the first place. It’s also just flat-out entertaining television, filled with strong performances from top to bottom and razor-sharp writing.
  27. With an amazing ensemble driven by great performances from top to bottom, an incredibly smart writers’ room, brilliant callbacks to the original that feel more inspired than forced, and a filmmaking style that feels as cinematic as this grand Minnesotan tragedy deserves, Fargo is one of the most addictive new shows of the year.
  28. What stuns me still about Louie is the complete unpredictability of it all as all four episodes defy TV comedy’s habit of going from point A to point B by taking viewers on another trip altogether.
  29. There’s a confidence in the writing in this episode that’s been missing the last few years, in which it sometimes felt like we were spinning our wheels.
  30. There are times when “Transparent” will run into a narrative convenience that it often seems too good for--someone stopping by a party at just the right time, someone running into someone in public, etc. Or a character will express something that seems just a bit too self-aware in an argument. I like these characters so much that I really just want to sit around and listen to them talk naturally to each other, examining the dynamics between one of the most fascinating families on TV.

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