RogerEbert.com's Scores

For 213 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 2.1 points lower than other critics. (0-100 point scale)
Average TV Show review score: 63
Highest review score: 100 True Detective: Season 1
Lowest review score: 0 Stalker: Season 1
Score distribution:
  1. Mixed: 0 out of 119
  2. Negative: 0 out of 119
119 tv reviews
  1. Working with a repertory cast of excellent actors, American Crime feels like one of network TV’s most essential shows. It is proof that adult drama can still work on the channels that spawned it.
  2. The writing is still incredibly crisp, so smart, and never boring, and the deeper focus on relatable emotion, particularly in the definition of the relationship between Holmes (Benedict Cumberbatch) and Watson (Martin Freeman), could even bring in new fans to this international phenomenon.
  3. The program is physical, visceral, and consistently intense. Even the dialogue sounds smarter.
  4. Few films have tapped into the seemingly conflicting emotions that exist in the human soul at exactly the same moment as HBO’s stellar Olive Kitteridge, a delicate, beautiful mini-series starring Frances McDormand, Richard Jenkins, Rosemarie DeWitt, Peter Mullan, Bill Murray and more.
  5. The first must-watch series of 2015.... Togetherness is one of those programs that starts off interestingly enough to warrant a recommendation from the premiere, but it also really improves as it goes along.
  6. While there’s a lot to like in Schenkkan's smart script, All the Way is really a vehicle for Cranston, and he delivers in ways that make it much easier to forget “Trumbo.”
  7. Orphan Black can be a little overly reliant on camera tricks and loud music to sell its action but it’s undeniably addictive in its plotting, pushing viewers from one revelation to the next with breakneck speed that doesn't allow for consideration of plot holes.
  8. Ryan’s writing, collaborating with Cris Cole, is typically razor-sharp, but the real draw here is the cast, all of whom find ways to stand out in a show that’s very plot-driven. Neither do they blend together into one character nor feel like they’re trying too hard when they get their chance in the spotlight. And that subtle dynamic is really why the show work.
  9. Daredevil is an intelligent, well-crafted drama series that may be a little thin on actual action for those expecting the CGI orgies associated with the modern Marvel logo but contains the nuance and character that has been missing from most of those blockbusters.
  10. There’s sort of a “fill-in” character for Gregory this season on whom I’m not yet sold after three episodes, but the saga of Pied Piper still promises to be one of the most interesting, and hysterical ones of the Spring.
  11. It is a rock-solid crime drama with film caliber production values, intriguing plotting and great performances.
  12. One of the reasons that You’re the Worst works so well is that we buy this relationship instantly. Geere and Cash have chemistry.
  13. Scorsese and Tedeschi’s film is more than a traditional non-fiction document of what happened in the intellectual circles that inspired and were inspired by The New York Review, but a relevant, vital film about the importance of journalism and commentary.
  14. It’s a lot to ask, and I worry that the show’s structure will define the program more than the characters within it or the themes explored by it. Having said that, there’s just as much reason for hope that this will be the next great cable drama. Most notably, the cast clicks.
  15. These are fascinating, smart guys who really know the business but the flashy production of the show distracts from the points they’re trying to make. It’s a minor complaint for a really good show. There are so many remarkably interesting scenes in the first two episodes alone.
  16. Things are more subtly chaotic on Boardwalk Empire this season as well, marked by a season premiere that feels more menacing and violent than the HBO hit often has in the past.
  17. The comic situations and commentary on how difficult it is to find love in the era of Twitter and texting feels organic to the three people at the center of this remarkably well-crafted and well-acted piece.
  18. The greatest thing about Unbreakable Kimmy Schmidt is that it keeps getting weirder and funnier.
  19. The premiere is weighed down with a lot of character set-up, taking place mostly at the reunion and focusing on the dynamic between John and Danny. While the next two episodes are tighter, thanks in no small part to an interesting narrative twist that ratchets up tension in the family, there are things that work right from the very beginning, mostly thanks to the cast.
  20. Murphy is a fascinating dichotomy in that he works expertly with actors and actresses (even in a mess like "Eat Pray Love" and undeniably in every season of "AHS") and so the performances he draws from his inevitably-Emmy-winning cast play tug-of-war with his melodramatic leanings and, ultimately, win the fight enough to allow his film to resonate.
  21. The final sequence in the premiere doesn’t quite work like it did in the original, and the small-town atmosphere of dread isn’t quite the same, but these are minor complaints for a surprisingly effective drama.
  22. As you may have been able to tell from the ads, the program a bit too often wears the banner of “Very Important Show” but a grounded, talented cast carries it over those melodramatic speed bumps.
  23. Preacher is a dark, funny and strange show, in the best way possible.
  24. The Girlfriend Experience” allows for pauses that television (other than “Rectify”) often does not. Sometimes these pauses can be presented in a way that feels too self-aware, but it starts to become a show with its own voice around episode five.
  25. Believe is well-paced, clever, perfectly cast (Kyle MacLachlan always makes a supporting cast more interesting), and engaging. Even the action scenes, including a tense moment in a hospital hallway, are well-choreographed.
  26. It’s not quite as nuanced as "Mad Men," but it could be before the end of the season.
  27. It’s something different, something stranger, something more relatable and bizarre at the same time. Not all of Jacobson and Glazer’s bits work, but I love that they’re constantly trying new things to see what does.
  28. Weiner anchors every episode around Don but lets the planets that orbit him change from episode to episode. Don’t worry. The season premiere isn’t all Ken Cosgrove. Peggy (Elisabeth Moss) and Joan (Christina Hendricks) get an interesting subplot that proves that Mad Men is not done discussing the changing role of women in the business world and the way they’re treated differently than their male peers.
  29. Humans intelligently adds to this decades-long conversation [what it means to be human] with strong writing, interesting performances, and, most of all, an eerie, disconcerting tone that forces us to question exactly what we want to happen.
  30. Season two may not have the punch of the series premiere's bus crash and return, but it has a tonal grayness that matches the lost nature of its characters. It sometimes feels more meandering than moody--not unlike the now-tonally similar “The Leftovers” did in season one.

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