Salon's Scores

  • TV
For 504 reviews, this publication has graded:
  • 45% higher than the average critic
  • 2% same as the average critic
  • 53% lower than the average critic
On average, this publication grades 0.6 points lower than other critics. (0-100 point scale)
Average TV Show review score: 65
Highest review score: 100 Treme: Season 1
Lowest review score: 0 So You Think You Can Dance: Season 1
Score distribution:
  1. Mixed: 0 out of 296
  2. Negative: 0 out of 296
296 tv reviews
  1. Though I understand how effective the hit-man aspect of the story must have seemed on paper, both as a thematic device and a driver of plot, Mia's story was interesting enough with out the being saddled with such an ultra-violent profession.
  2. Sorkin may be self-important, but he's certainly not mediocre.
  3. If your family game nights tended to end with someone upturning the Monopoly board, then running to their room in tears, and your family trips hit their low point at a national monument in the middle of nowhere when someone abruptly got out of the car and refused to get back in, you're likely to find "Lucky Louie" fairly entertaining.
  4. These are production issues that will fix themselves in time. Olbermann was back. He jumped right back into the thick of things. And he was very, very good.
  5. Unlike the teenagers on the show it replaces on the CW schedule, "Gossip Girl," the characters on The Carrie Diaries are neither disturbingly precocious nor voracious, instead working a welcome John Hughes vibe.
  6. I’m interested to see where The Path goes with its musings, because although it took me a while to accept the premise of the show, I cannot deny that it is well-made and thoughtful, if mostly concerned with the thoughts and feelings of very frustrating people.
  7. Patrick is fidgety, disturbingly intense and possibly a bit snobbish to boot--not unwatchable, but, as yet, far from endearing. Fortunately, Looking has plenty else going for it.
    • Salon
  8. Generally an appealing little comedy, able to juggle things like identity and success and privilege and a general terror of aging with some nimble skill in a way that felt actually fresh.
  9. This excursion into the far reaches of space, brought to you by "Battlestar Galactica" producers Ronald D. Moore and Michael Taylor, proves far more compelling than most made-for-TV movies--and most TV pilots, for that matter--up until its abrupt, hair-pullingly inconclusive ending.
  10. Eventually one starts to think about what one is doing with one’s life and how one actually wishes to spend it rather than tripping from one youthful, unconsidered mishap into another.... I can say that Dunham and her co-creators understand that progression.
  11. Ben & Kate seems poised to be to the "20 to 30-somethings get their lives together" sub-genre what "Parks & Rec" is to workplace comedies: something willfully, wonderfully kind.
  12. Lipstick Jungle is just as fluffy and soapy as you'd imagine a show based on a book by Candace Bushnell should be, it's still far smarter and more appealing than ABC's rich-and-powerful-lady fluff-fest "Cashmere Mafia."
  13. Casual is a weird show, and at first, it’s not entirely easy to go with its erratic flow.... The show is perplexing, but as evidenced by the care it shows for Laura’s fragile relationship with her father, or the siblings’ devotion to each other in the face of their egotistical, manipulative mother (Frances Conroy)--it has a poetry to it, too.
  14. The first episode isn’t riotous (truly hilarious pilots are rarer than... even truly hilarious sitcoms), but it’s confident and charming and the characters seem fully formed.
  15. It’s like all the ingredients for a sugar rush of a dessert have been assembled and instead mixed together to make something surprisingly sensible, but not exactly delicious.
  16. There are times when you have to question the writers' urge to pack in everything but the kitchen sink...Fortunately, Kelly and McClintock pull off their roles in this precarious high-flying adventure, teetering between heaviness and humor in each scene.
  17. Not great, but good, and promising.
  18. All I see is a bunch of reasonable, ambitious types and one kooky hippie. Do you honestly think we're going to hang around just to hear Tim Gunn say "Make it work!" for the fifty-millionth time in a row?
  19. The best thing about "Prison Break" is that we've never seen anything like it before.
  20. Once we’re aware that’s coming, we can’t help but to expect it to happen. That puts the onus on Hawley and his writers to cook up an act so unexpected that it jolts us nevertheless. Whether initial crime of Season 3 fulfills that promise is debatable. The auxiliary circumstances and characters surrounding it, however, don’t initially hold enough tension to makes us salivate with anxiety for where this story will go next.
  21. Did I mention that The League is occasionally pretty funny? Forget that it's basically a Bud Light commercial stretched out to fit a half-hour of broadcast time.
  22. Objectively, Downton is not that good and certainly not as good--well-made, well-wrought, reasoned, executed--as it once was. But objectivity only has a little do with it.
  23. Review gets a solid rating. Forrest MacNeil’s life? Zero stars.
    • 75 Metascore
    • 70 Critic Score
    'Without a Trace' adopts the requisite cop-show clipped pace and poker-faced acting, but the procedural approach is catchy. There’s something irresistible about a forensic drama that hooks you with hints at the ending and works backward from there.
  24. Very little of this re-entry into “Twin Peaks” makes any sense. Yet it’s admirable that the drama’s creators have found a way to update the universe without relinquishing its signature atmosphere. The story still wields the power to mystify and confuse, even 26 years after the original episodes ended.
  25. The Nightly Show With Larry Wilmore isn’t perfect, and it might not find its stride for a few weeks yet. But with this first episode, Wilmore and his team are demonstrating that they are not afraid of asking hard questions, whether those questions are about police brutality, representation in film, biracial identity, or how and when women feel safe in public. It takes a lot of skill to boil a complicated issue down to a single question; it takes even more to make that question funny.
  26. With such a knockout concept at its core, Flash Forward may still be on our minds six months from now--that is, if we're not too busy piecing together global mysteries or cheating on our husbands to notice.
  27. What Scientology and the Aftermath lacks in cinematic polish and the caliber of familiar celebrities featured in “Going Clear”--director Paul Haggis, one of the most famous Hollywood adherents to publicly defect from the Church prior to Remini, led off Gibney’s documentary--is somewhat supplanted by Remini’s honest anger and frustration, both of which blaze across the screen in reaction to particularly damning revelations. Remini’s overall likability is this program’s most valuable asset.
  28. Based on just one episode, it’s hard to tell how the series will unfold, but the mood, threatening, uneasy, a little kinky, is there, and that just might be enough.
  29. After two episodes, "The Boondocks" shows promise, defies categorization and, basically, could either evolve into a great show or become repetitive really fast.

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