RogerEbert.com's Scores

For 255 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 1.2 points lower than other critics. (0-100 point scale)
Average TV Show review score: 64
Highest review score: 100 Master of None: Season 1
Lowest review score: 0 Stalker: Season 1
Score distribution:
  1. Mixed: 0 out of 146
  2. Negative: 0 out of 146
146 tv reviews
  1. Louis-Dreyfus can still sell an uncomfortable political smile like no one else. I will say that the tone this season seems somewhat unnecessarily darker at times than in the first two.
  2. The filmmaking here is fluid and the performances are strong across the board.
  3. It's a very smart, insightful piece about the delicate balance of success and insecurity within a female friendship.
  4. The series premiere of Quantico is never dull. Chopra is charming, and so is the rest of the well-assembled cast.
  5. There is a very strong sense of setting here and a few great performances; enough to warrant a look.
  6. Hap and Leonard works its strengths slowly, until you’re eager to see where these characters are headed next and how they’ll work their way out of what looks like an increasing degree of trouble.
  7. This sexually-charged, intense look at Blues icon Bessie Smith often feels defiantly episodic, as if co-writer/director Dee Rees is purposefully trying to sketch a portrait of a life in incomplete brush strokes, but Latifah, who is in nearly every scene, never falters in her portrayal of a woman who was too edgy, too real, and too tough to be famous before the world came crashing down around her.
  8. American Horror Story: Hotel is cluttered, unfocused, ridiculous, and silly, but it is very self-aware and stunningly confident at the same time. Murphy and Falchuk almost dare you not to join in the chaos, and it certainly feels more assured than the inconsistent “Freak Show.”
  9. It takes a few episodes to really click but the third episode screened, "Pancakes, Divorce, Pancakes" has a twisted brilliance even in its very premise.
  10. At first, Wayward Pines doesn’t quite have the visual personality to match its narrative oddity.... Be patient. The repetition fades away as writer Chad Hodge (who adapted his books) starts working more with answers than questions, and even the already-strong cast improves.
  11. The cast, and the potential arc of the well-performed lead, will keep audiences interested but this show needs to be more engaging on an episode-to-episode level soon or they’ll move on.
  12. Ballers is imperfect, but Johnson carries it with the assistance of a strong supporting cast and rock-solid filmmaking.
  13. There’s some goofy dialogue that holds it back, but I like that it doesn’t hold your hand in terms of its narrative or themes. I’m curious to see where it goes.
  14. Writer/director Jonathan Levine created Rush and he brings the show a confidence that new dramas are often lacking.
  15. With engaging lead performances by Josh Duhamel and Dean Winters, along with a crisp, witty script, the premiere of “Battle Creek” is entertaining, it just doesn’t feel as essential as the previous programs from its creators
  16. Jarecki is an excellent interviewer, making Durst comfortable enough and yet also asking the tough questions. I wish some of the flashier filmmaking aspects of The Jinx weren’t quite so overcooked.
  17. Scream the TV series doesn’t have the cinematic flair that Craven brought to the original film, and that’s a bit disappointing, but right from the first scene there’s a unique energy to the piece. It doesn’t feel like a knock-off or a cheap tie-in. It’s a horror movie in weekly series form.
  18. The Spoils Before Dying fluctuates wildly from very clever to somewhat exhausting, but it gets better as it goes along, or perhaps I just got accustomed to its unique sense of humor.
  19. Samberg’s comedy style can be a little overly frenetic, and a few of the jokes here just don’t land, but there are some parts of 7 Days in Hell, especially “The greatest point in tennis history,” that really should be seen, especially if you’re one of those who miss the “SNL” years of the ‘90s and ‘00s
  20. After a relatively explosive season premiere, the next two episodes of Sons of Anarchy may frustrate viewers hoping for insanity in every episode. Sutter gets down into the dirty of a gang war again, and it’s a bit of a narrative letdown after the explosiveness of last season.
  21. I sometimes miss the more relatable tones of early 24--the first five seasons were spectacular--and doubt that the show can ever get there again, but the producers have so embraced the larger-than-life elements of their beloved character that it’s hard not to enjoy the show on those terms.
  22. This is solid, confidently made television, the kind of programming that has me interested in where it’s going next thanks to high production values and an expertly assembled cast.
  23. One, the cast is strong. Hudgens is likable; Pudi and Tudyk have excellent timing. Two, the concept is promising. While I’m a little worried that Powerless will repeat jokes, I’m more hopeful that the world of superheroes will just become background to a clever workplace comedy.
  24. At first, it feels like little more than an exercise in period style, even with a great, charismatic performance at its center, but subsequent episodes hint at a complex, rewarding drama to come. It’s the kind of program that’s remarkably hard to review off only three episodes, but I’m certainly excited to see more.
  25. Prison Break embraces its ridiculousness, allowing you to check out mentally after a long work day. If that doesn’t sound appealing to you, if you want to break down a show more intellectually, there are plenty of other options.
  26. The cast is great, the production values are high, the mysteries at its core are interesting, the social messages it’s playing with are important. If one wishes the overall picture was a little better, it’s only because of how much of this actually works.
  27. Even if the entire rhythm isn’t quite there, the moments pile up.
  28. It's a sentimental show to be sure but it's almost refreshingly straightforward in its sentimentality and there's something heartbreaking in the performances of Kurtwood Smith and Frances Fisher as a couple who lost their son 30 years ago but now have to deal with his return.
  29. Feldman and Milioti are so likable they’ll make your teeth hurt from the sugar. And I mean that as a compliment.
  30. Tierney and West do their best, but the script for The Affair 2.1 is too deeply flawed to ignore. Alison’s arc, which doesn’t come into play until episode two, is far more engaging. In fact, the entirety of episode two makes up for a lot of the mistakes of episode one.

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