RogerEbert.com's Scores

For 282 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 1.1 points lower than other critics. (0-100 point scale)
Average TV Show review score: 64
Highest review score: 100 The Night Of
Lowest review score: 0 Stalker: Season 1
Score distribution:
  1. Mixed: 0 out of 164
  2. Negative: 0 out of 164
164 tv reviews
  1. Chance, despite a great cast and a pilot directed by Oscar nominee Lenny Abrahamson, relies too much on coincidence and gullibility to be effective. And, more damagingly, doesn’t generate the sexual heat or sense of danger that great noir needs to resonate.
  2. It too often feels like a variation on “Dallas,” right down to an obsession with profits from oil. Johnson is fun but Crawford is flat and dull, too unengaging to really be a lead on a show like this one.
  3. The writing doesn’t work. And scenes within the title location are in even more need of a rewrite.
  4. The cast here is decent, especially Flint and Rodriguez, but the writing is unforgivably bad.
  5. There’s no one to care about, no laughs, and nothing that you haven’t seen before.
  6. Syfy’s adaptation plays with Clarke’s plot and themes but does so in such a leaden, DOA way that it’s almost like a grade-school paper from someone who didn’t read the assignment.
  7. After a relatively strong premiere, ABC’s thriller quickly becomes overheated, overwritten, and generally convoluted garbage.
  8. Passmore was an engaging lead on "The Glades" and he is not bad here but the scripting of Satisfaction is leaden and unbelievable. Again, we’ve seen it before. And, at least in the premiere, there’s not enough entertainment value to see it again.
  9. It is lurid and heated (which "Extant" could use more of) but it’s also just ridiculous and filled with awful dialogue spouted by characters about whom it is impossible to care.
  10. Crystal and Gad are deeply unlikable as they bicker and complain about everything. And the supporting characters are woefully underwritten.
  11. Somehow, Wayward Pines turned into a bad CW show. And that really leaves Patric, Hope Davis, and new co-star Djimon Hounsou entirely stranded.
  12. There is perhaps no better example of how much a show is not the sum of its talented parts than this one as it looks like a home run on paper but strikes out in reality.
  13. Of course, it all comes back to the writing, which is sometimes cringe-worthy here. There are jokes that don’t just hit the floor, they feel almost like a sitcom within a funnier film designed to parody bad TV writing. And the overdone laugh track doesn’t help.
  14. This is one of those shows where one starts to feel bad for the ensemble, as they trudge through bad scripts, doing all they can to elevate it but sinking into the generic quicksand as Wilson over-acts his way into cancellation.
  15. The blunt truth is that there’s a major difference between complicated and cluttered. Falling Water thinks it’s the former but it’s really the latter, a show that throws so many ideas and references (it recalls “Heroes” as well as the cult classic “Dreamscape,” along with “Inception,” of course) against the wall in hopes to keep you numb to the fact that there’s not much going on.
  16. The dialogue in Happyish sounds forced and overly written from minute one.
  17. Nothing is remotely atmospheric, death scenes are predictable and boringly filmed, the best friend character might as well be wearing a red shirt, and the dialogue and plotting are horrendously executed.
  18. The convoluted narrative either pulls you in with its layers of intrigue and mystery storytelling OR it pushes you away as it gets so nonsensical and overheated that you give increasingly less of a damn. Dig is way more of the latter, despite the best efforts of a talented cast. I just didn’t care, and I cared less and less as the first three episodes unfolded.
  19. Its two love-crossed leads are a pair of characters that the audience, at least after two episodes, will have no interest in seeing get together.... The script here is a constant barrage of inner monologue turned narration, most of it centered on how love and life is different in the Big Apple, without ever making that key element of the show feel genuine.
  20. It is flat, filled with some surprisingly horrible performances sketching two-dimensional characters.
  21. It’s one of those shows filled from top to bottom with unlikable characters, often caught in situations that just don’t feel genuine. And the show is working in such an emotional minefield—the impact of divorce on a family—that if the writing and performances don’t feel truthful than it just comes off mean-spirited and misanthropic.
  22. It is remarkably personality-less, largely because its creators make the fatal mistake of trying to focus on a dozen characters in a 44-minute network format.... The period detail feels forced and often fake, like a “Mad Men” costume party. Or, worse, a “Pan Am” one.
  23. Feed the Beast vacillates from being something we’ve seen often to something that’s just not believable, and the dialogue sounds produced by a computer designed to write melodrama. Schwimmer (and co-star Lorenza Izzo) sometimes pierce through the predictability, but everyone else gets lost in a messy show that just can’t compete in today’s TV market.
  24. From the beginning, dialogue is overdone and laughable. I don’t demand realism from a show about a tattooed naked woman dropped in Times Square, but there’s a line where it gets ridiculous instead of entertaining and Blindspot crosses it early and often.
  25. Kevin Bacon is just woefully underutilized here.... None of this show feels or sounds real. Not one beat. Not the plotting or the characters.
  26. Cluttered and implausible, the series premiere of NBC’s State of Affairs, hints at the show that could be engaging underneath the poor filmmaking and even more frustrating writing and performances.
  27. Sharknado 2 drags for a large chunk after [the opening sequence] and, honestly, doesn’t have enough insane action to really say it completely works as B-movie escapism.
  28. Almost as if they can tell that the scripts for the three episodes of Star screened for press are just no good, these young stars try to overcompensate by going into overacting mode.
  29. The dialogue is awful, the performances are generally bad (with the exception of the vets—Otto, Smits, and Gerald McRaney, who pops up in episode two), and even the internal logic of the show feels non-existent.
  30. What’s remarkable about Iron Fist is just how much is missing from it. There’s no visual language whatsoever, no sense of setting, no characters about whom you care (other than a little with Henwick’s Wing), no social message, zero sense of humor and no atmosphere.

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