RogerEbert.com's Scores

For 236 reviews, this publication has graded:
  • 44% higher than the average critic
  • 3% same as the average critic
  • 53% lower than the average critic
On average, this publication grades 1.5 points lower than other critics. (0-100 point scale)
Average TV Show review score: 63
Highest review score: 100 Louie: Season 5
Lowest review score: 0 Stalker: Season 1
Score distribution:
  1. Mixed: 0 out of 133
  2. Negative: 0 out of 133
133 tv reviews
  1. Smaller tastings of silliness should make for a nice Thursday night alternative this winter.
  2. The good news is that it’s very watchable, consistently enjoyable and even shows sparks of that Crowe wit and emotional honesty that drove films like “Say Anything” and “Almost Famous.” The bad news is that it feels a little thin in places, almost like a Crowe’s Greatest Hits.
  3. 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.
  4. The Player is fun, and doesn’t really try to be anything more than that.
  5. 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.
  6. 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.
  7. 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.
  8. It feels more like a casual affair, something that Odenkirk and Cross did on a break from things they take more seriously. They are such brilliant writers and comedians that their talents make the result of that “break project” entertaining, but one wonders how this might have turned out with a bit more concerted effort.
  9. There is NO new ground broken here. And yet, like “Chicago Fire,” there’s something that works.... The cast here is better than average for the modern medical drama. Platt and Merkerson are the two veterans who ground the piece, while the new young cast, especially DaCosta, DeVito and Donnell have breakout potential.
  10. If the first episode left me disappointed, the next two made me hope that this six-episode experiment works well enough to justify more. They’re that good.
    • tbd Metascore
    • 63 Critic Score
    Phillips, with that ability to radiate anger, is not just convincing but scary-as-hell as Ramirez even though he spends most of The Night Stalker chained to a desk and coughing up a lung. If anything, this can be too much of a good thing however, as Phillips overwhelms Young in their exchanges even more than he should. When Phillips rages about embracing evil and gold being "the metal of Christianity," Young is too often shown staring blankly in return.
  11. 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.
  12. Not only is it disappointingly short (72 minutes), but it feels choppily edited at times and O’Brien often misses the follow-up, allowing interesting discussions about directing and filmmaking by Nichols to go zipping by. The result is a film that’s packed with stories more than insight.
  13. Legit is still a work-in-progress. Every joke that works is countered by a few that don’t.
  14. 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.
  15. 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.
  16. 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.
  17. 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.
  18. 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.
  19. 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.
  20. It’s a documentary of episodes more than something that builds, although that’s sometimes inherent in the biographical doc genre.
  21. 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.
  22. 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.
  23. 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.
  24. 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.
  25. The guys of Workaholics could stand to try a new thing or two.
  26. 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
  27. 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.
  28. Half the jokes are inspired; half the jokes hit the floor.
  29. 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.

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