Salon's Scores

  • TV
For 493 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 0.7 points lower than other critics. (0-100 point scale)
Average TV Show review score: 65
Highest review score: 100 Mildred Pierce: Season 1
Lowest review score: 0 So You Think You Can Dance: Season 1
Score distribution:
  1. Mixed: 0 out of 288
  2. Negative: 0 out of 288
288 tv reviews
  1. Although Banks has a bad habit of tooting her own horn endlessly while the cameras roll, she may be justified in doing so, since, from the opening graphics to the hip-hop soundtrack, her show has been undeniably imaginative and engrossing.
  2. Not great, but good, and promising.
  3. Although at times Hung unravels and feels as lost as Ray Drecker himself, its individual scenes present as darkly funny and disturbing a parable of the disheartening state of American culture as you'll find on the small screen.
  4. Although every second of this comedy is far from genius, the disturbed mood and unique mean-spirited flavor of it all points to what the network comedies are so often lacking: bold choices that border on the absurd.
  5. 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.
  6. Who doesn't want to see Vic Mackey catch bullets with his bare hands? [But] You might be longing for Vic Mackey to crush skulls with his bare hands after a few minutes of this happy-go-lucky, discovering-the-importance-of-family romp.
  7. The best thing about "Prison Break" is that we've never seen anything like it before.
  8. Dockery and Botto have heat to spare, and troubling as Letty and Javier’s partnership may be, the actors’ performances make us believe that the two have enough in common for the plot to evolve into a standout narrative.
  9. The series’ first [season] is merely serviceable.
  10. The viewer truly doesn’t know what they’ll be getting from week to week. But it also makes Room 104 intensely uneven, with a few stories standing out in a crowd that barely transcends a quality rating of middling.
  11. Not only does Colbert maintain his persona without skipping a beat throughout the entire show, but he's got great comic timing, the show's writers are brilliant, and the whole thing is pure foolish, bizarre, idiotic fun at Bill O'Reilly's expense.
  12. Political Animals may be super-fun, but it is also superficial.
  13. Asylum dives right in on racism, homophobia and sexism, and wrings something emotional out of them.
  14. Unfortunately it's more of a survey or omnibus, so it covers many programs somewhat glancingly.
  15. OK, fine, so maybe the pilot does wrap up with your typical teary-eyed confession. Otherwise, though, Lie to Me is as thoroughly entertaining and charming as its fine-looking cast of characters.
  16. Unfortunately, there's an excess of kooky cuteness here.
  17. He neither excelled nor failed; it wasn’t perfect, but it wasn’t flawed, either.
  18. Nothing in this pilot is as compelling as the idea for the show, which begs philosophical and ethical questions that Spielberg and company (for now, at least) aren't interested in addressing.
  19. Yes, Bored To Death may be a parody of noir, or maybe it's a dramedy that dips into detective novel tomfoolery, but most of all, it's a story that revels in the realm of those strange overgrown children who use artistic pursuits to justify their weak little whimpering selves.
  20. The parade of outlandish characters zipping in and out of their lives is distracting enough to confuse the atmosphere. As such, Claws isn’t fully realized as either a drama or a comedy, and its attempts at incorporating some version of the latter appears to be unintentional.
  21. "The Sarah Silverman Program" has all of the charms of a joke with an audible fart as the punch line.
  22. Saving Grace is my second-favorite cable drama this summer ("Mad Men" being the obvious front-runner), thanks to the excellent cast (Kenny Johnson and Laura San Giacomo, among others), and the fact that Hunter plays Grace with so much authenticity and scratchy sweetness.
  23. It’s a messy, feather-light romp that establishes early on that, among other things, the past smelled pretty bad.
  24. May be the most riveting and the most haunting drama to air this fall.
  25. Revolution takes a high-stakes, specific premise--the end of the world through a total collapse of technology--and makes it as dull and generic as possible.
  26. The banging-the-president plot may outdo "Grey's" and "Private Practice's" in sheer headline-grabbing, gonzo boldness, but it's still ill-advised. The chief executive needs to button up, and even Shonda Rhimes can't make a TV show escapist and over the top enough to obviate that--though, it sure should be interesting to watch her try.
  27. Surprisingly clever dialogue, great characters and an excellent cast will make you enjoy this very typical sitcom in spite of yourself.
  28. "The Tudors" takes all of the intrigue and power struggles and tomfoolery of the House of Tudor and gives it six-pack abs and a rock-star swagger
    • 64 Metascore
    • 50 Critic Score
    Sadly, the second episode of "Nip/Tuck" has none of the laughs and excitement of the first, but the eerie, uncomfortable, dumb-teenager darkness of the previous five seasons is back.
  29. Even though the second episode of the season isn't structured very well, with lots of rambling talk about nothing, even though the show lacks the tightness and the natural momentum of "Six Feet Under" (and the weight and the intensity, for that matter), True Blood is still odd, unpredictable and off-kilter.

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