RogerEbert.com's Scores

For 279 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 1.2 points lower than other critics. (0-100 point scale)
Average TV Show review score: 64
Highest review score: 100 The Americans: Season 5
Lowest review score: 0 Stalker: Season 1
Score distribution:
  1. Mixed: 0 out of 161
  2. Negative: 0 out of 161
161 tv reviews
  1. Silicon Valley has some very solid laughs but traffics in stereotypes that feel outdated.
  2. It’s all perfectly likable without being overly memorable. Too much of the comedy in Love relies on awkward sitcomish set-ups.
  3. [The first season of ] Togetherness found something fresh and new to say about marriage, relationships and insecurity in the ‘10s. The problem is that season two starts by saying the exact same thing.
  4. The premiere of Girls is perfectly enjoyable without feeling as current or well-written as those first two seasons. The ensemble has always been excellent and they do their best, but my issue with Girls remains tonal.
  5. After three episodes, this show is on a razor’s edge. It could easily tip into a parody of itself, as the writing isn’t strong enough to get us through long passages of dialogue like in “Game of Thrones”. And it needs to stop taking itself so seriously. Have some fun with it.
  6. An interesting mystery is hampered by over-production, scripted interview scenes and other signs of a show trying to please instead of just letting the action unfold.
  7. 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.
  8. Every time Patriot feels like it’s going to click into its rhythm and start working consistently (such as in some interesting background for Smith’s character in episode three), it derails itself with a wild tonal shift. And, most damagingly, Dorman’s flat performance doesn’t serve as the bridge from the show’s espionage elements to its comedy beats.
  9. Clearly, American Gothic has enough plot for a summer murder mystery, but it doesn’t quite have the style or cast to pull it off with the flair that this kind of guilty pleasure needs.
  10. 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.
  11. American Odyssey is equal parts ambitious and frustrating.
  12. People of Earth does have plenty of moments and personalities to warrant a look. You’ll just wish the whole experience amounted to more than lost time.
  13. Nothing feels invested in long enough to register because the narrative is constantly jumping around, almost as if it’s scared there’s not enough story here to carry a film. Thank God for great casting. Winfrey is typically fantastic.
  14. Forever makes for a breezy hour of entertainment that is nonetheless remarkably forgettable.
  15. It’s a well-paced diversion after a long Monday night.
  16. 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.
  17. Some casting choices are inspired, others awkward. Some style choices by Rodriguez simmer, others fizzle.
  18. 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.
  19. The result is a show with occasional laughs but lacking the freshness of the first season of “Eastbound & Down,” and the consistently funny plotting of the best episodes of that show. Even just over the first few episodes, Vice Principals already feels like it’s spinning its wheels.
  20. Conceptually, Man Seeking Woman has moments of brilliance.
  21. 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.
  22. There are decent performances buried in Houdini & Doyle (especially the always-good Weston) and the design values aren’t bad for network TV, but the writing isn’t memorable enough for the program to stand out in an increasingly-crowded landscape.
  23. 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.
  24. While it’s undeniably fun to see at least three of these charismatic characters come together, The Defenders suffers from the same bloat that has been plaguing Netflix series of late--everything feels like it’s moving much slower than it needs to in order to stretch out a thin plot to a season length.
  25. Strengthen or ditch most of the supporting cast (and go “Louie”-style with a rotating ensemble) and Dice could become something really special. As is, it’s still an interesting chapter in a return of a once-superstar that most of us never saw coming.
  26. Beals isn’t bad and Edi Gathegi is better as her put-upon intern, but Proof feels like a show that takes complex issues and merely skims their surface.
  27. Cardinal often pulls from years of cop show clichés in ways that almost approach parody. Most of all, why does it always sound like John Cardinal is whispering? And yet there within the clichés and outside of the torture subplot, there are elements of Cardinal that hooked this mystery junkie.
  28. What keeps the show interesting beyond Perrotta’s set-up is the cast.... It’s a program designed to come at its theme from a number of angles--religious, familial, societal, etc.--but the multi-voiced approach leads to a lack of consistency at its core.
  29. Ultimately, in a world that includes curtain-ripping pieces like "Game Change" and "The War Room," Mitt feels perfunctory. It feels requisite more than informative.
  30. The premiere has moments of clever insight into the dating process and how parenthood can change you but the show spins its wheels for the next two episodes sent for press.

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