RogerEbert.com's Scores

For 129 reviews, this publication has graded:
  • 38% higher than the average critic
  • 5% same as the average critic
  • 57% lower than the average critic
On average, this publication grades 3.9 points lower than other critics. (0-100 point scale)
Average TV Show review score: 61
Highest review score: 100 Louie: Season 5
Lowest review score: 0 Stalker: Season 1
Score distribution:
  1. Positive: 66 out of 66
  2. Mixed: 0 out of 66
  3. Negative: 0 out of 66
66 tv reviews
  1. Smaller tastings of silliness should make for a nice Thursday night alternative this winter.
  2. Davis is such a phenomenal actress that it’s tempting and easy to say that she’s better than the material she’s given here, but hopefully she can elevate the show around to her level. She does so often enough in the premiere that I’m willing to see if she can keep it up.
  3. Empire is a defiantly sudsy bit of escapism, a show that embraces its nighttime soap foundation but does so with enough on-screen talent and off-screen flair to keep it entertaining.... Judged on its own terms, Empire works.
  4. With an engaging lead performance by Matthew MacFadyen, a breakneck pace, and strong production values, this is quality entertainment for those interested in programs like Ripper Street, even if it's not quite smart enough to break out of that niche market.
  5. The character-based stuff is so strong that the situational stuff feels even more forced. Luckily, the cast and writing gets better as the show goes along, discarding some of the easy set-ups of the first couple episodes.
  6. Every element that doesn’t quite work in The Casual Vacancy is offset by a legitimate reason to check it out, at least until the muddled ending.
  7. Legit is still a work-in-progress. Every joke that works is countered by a few that don’t.
  8. 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.
  9. 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.
  10. 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.
  11. 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.
  12. It’s a documentary of episodes more than something that builds, although that’s sometimes inherent in the biographical doc genre.
  13. 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.
  14. 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.
  15. 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.
  16. The guys of Workaholics could stand to try a new thing or two.
  17. 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
  18. Half the jokes are inspired; half the jokes hit the floor.
  19. Silicon Valley has some very solid laughs but traffics in stereotypes that feel outdated.
  20. 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.
  21. 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.
  22. American Odyssey is equal parts ambitious and frustrating.
  23. Forever makes for a breezy hour of entertainment that is nonetheless remarkably forgettable.
  24. It’s a well-paced diversion after a long Monday night.
  25. The problem lies, as it so often does in shows like this one, with a tonal imbalance in the writing. Attempts at dry, workplace humor are intermingled with commentary on how much perception dictates policy. That’s all well and good but the humor isn’t funny enough and the commentary isn’t sharp enough.
  26. Some casting choices are inspired, others awkward. Some style choices by Rodriguez simmer, others fizzle.
  27. Bichir’s still very good at the start of season two but the writing has lost almost all of its focus, switching from a mystery series to a piece that tries to capture the dark edge of crime on the U.S.-Mexico border and gets muddled along the way.
  28. Conceptually, Man Seeking Woman has moments of brilliance.
  29. It’s a show that’s spinning its wheels a bit, like returning to the exact same location every Memorial Day; it still looks nice but you might want to visit somewhere new.
  30. The Newsroom feels largely the same as it did last year, despite Sorkin’s claim that this season would make up for the flaws of the last two. That is to say it’s both really good and remarkably aggravating—sometimes in the same line of dialogue.

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