The Detroit News' Scores

  • TV
For 52 reviews, this publication has graded:
  • 55% higher than the average critic
  • 11% same as the average critic
  • 34% lower than the average critic
On average, this publication grades 5 points higher than other critics. (0-100 point scale)
Average TV Show review score: 70
Highest review score: 100 The Returned: Season 1
Lowest review score: 20 George Lopez: Season 1
Score distribution:
  1. Positive: 42 out of 42
  2. Mixed: 0 out of 42
  3. Negative: 0 out of 42
42 tv reviews
  1. Massive, cruelly dense, absurdly complicated and absolutely thrilling.
  2. This show--which mixes hints of “Lost,” “Twin Peaks” and “The X-Files”--is one of the best things to hit our airwaves this season.
  3. Raylan, despite his tendency to shoot people, is something of an old-fashioned hero, complete with white cowboy hat. Here’s to the simple but effective balance, and to the complications that threaten to topple it.
    • 74 Metascore
    • 100 Critic Score
    Smart without being smug, Nip/Tuck is surgically altered television perfection. [5 Sept 2006, p.5D]
  4. Girls continues to delight and provoke in a way too few shows can.
    • 71 Metascore
    • 91 Critic Score
    [A] captivating and undeniable classic. [26 Aug 2005, p.2E]
  5. The disconnect between propriety and reality keeps the miniseries on constant edge. The entire cast is fine, but Hall steals the show.
  6. The show isn't perfect--the female characters are weak, Graham can get a bit wild-eyed and the killings get progressively more bizarre. But creator Bryan Fuller has a good grip on the material and Mikkelsen sets a tone that's both chilling and intriguing.
    • 88 Metascore
    • 83 Critic Score
    The suits are louder, the sideburns are longer; aside from that, the season-six premiere proves to be classic Mad Men with plenty of vice (maybe more than before, at least more pot), long hours at work and lots of questions.
  7. Yes, there are a few stereotypes--a guard nicknamed Pornstache is exactly the sleazeball you expect in a women’s prison series. But, for the most part, the show strikes a fresh tone, allowing for real tenderness, social commentary and lots of anxiety in a classic fish-out-of-water scenario.
    • 70 Metascore
    • 83 Critic Score
    Smarter and more creative than ABC's "Desperate Housewives," that other show about superficial suburbia, "Weeds" has edgier and wittier writing. [6 Aug 2005]
  8. There’s a lot of humor here, but it’s more innocent than leering. And there’s also a great deal of understandable awkwardness that seems as pertinent to 2013 to the ’50s. You may not want to watch this with Aunt Tildy, but it is certainly worth watching.
  9. Moms Mabley is a fine appreciation of a remarkable life.
  10. The tone wavers here and there--a pair of teen brothers are too broadly drawn--but holds true for the most part.
  11. The first four episodes contain more solid laughs than most sitcoms manage in a year. [13 Oct 2000]
  12. Mamet is known for tight, pointed dramas, and he holds true to his rep here, creating a mystery, procedural and character study all in one.
  13. Family Tree is addictively silly stuff.
  14. The series looks promising, if puzzling.
  15. Showtime’s favorite psychopath is watching his life unravel. Again. Which is tough for Dexter but probably good for the audience.... Last year, the ship was righted as Deb disintegrated and Dexter found true love. Will this season bring justice, cheap thrills or a violent conclusion? Hopefully, all of the above.
  16. It’s hard to say where The Bridge is going, but so far it looks like a trip worth taking.
  17. The potential for cop burnout exists with all the new crime shows this season, but "Trace" is among the most promising entries. [26 Sep 2002]
  18. What The Newsroom lacks in vampires, serial killers and terrorist love affairs, it makes up for with topicality, intelligence and messy romances.
  19. While it's certainly not the most innovative new show this season, it knows exactly what it wants to be, which isn't a full-on copy of "CSI" but close enough to seem familiar. And it delivers the same slick, well-produced, well-acted sort of analytical whodunit as the original. [23 Sep 2002]
  20. Simply put, Smallville is super. A new spin on the modern myth of Superman, it's part action series, part teen romance and part high school drama, done with superior production values and featuring an array of new faces that could quickly become familiar. [16 Oct 2001]
  21. [A] promising mix of urban decay, moral corruption and brutal betrayal that’s likely to fuel Sun.
  22. The Walking Dead may be starting to walk in circles, but the scenery is still spectacular and spooky.
  23. There are knocks in Seduced and Abandoned, but none of them seem that hard.
  24. Relentlessly dark and slow boiling, True Detective may promise more than it can deliver. But it still delivers quite a bit.
    • 70 Metascore
    • 75 Critic Score
    Nip/Tuck isn't perfect, but with its flawed, fumbling and very human cast of characters, it's a cut above the usual TV drama. [22 July 2003, p.5E]
  25. Alliances are made and broken, power shifts go this way and that, blood is spilled, and wenches keep wenching. It’s oddly addictive, and the cast--made up mostly of British, Australian and Canadian actors--is as sharp as you’d expect from pay cable.
  26. Handled correctly, this has “Lost” potential.
  27. At first, it seems like your typical show from the CW, overstuffed with bushy-haired teens in a sci-fi situation. But after a while the series, based on a book by Kass Morgan, reveals influences ranging from “Lord of the Flies” to “Battlestar Galactica,” with more than a few hints of “The Hunger Games,” “Lost” and “1984” tossed in.
  28. Turn becomes more tense with each episode, at least through the first three, and that’s a very good sign.
  29. [A] somewhat overheated but still fairly effective new thriller.
  30. The Americans has potential. The way it uses recent history as a reflector of modern deceits while bouncing the concept of patriotism around mixes nicely with the hang-by-your-fingertips story turns.
  31. Fincher's unemotional style comes through in the first two episodes, and the show could use more heat. But Spacey makes it worth watching.
  32. Maybe this will all become coherent. But then maybe it shouldn't. Sometimes messy is better.
  33. You get the feeling creator Rockne S. O'Bannon is building a puzzle box to nowhere here, but Knepper's malevolent glare sets a nice, unhinged tone, and there's certainly plenty of room to move forward.
  34. Things go bad quickly, which is to be expected. The challenge with this show will be to keep it appropriately Crazy Town without letting it get Loony Bin bad.
  35. There’s just enough crazy in Ray Donovan to keep things interesting.
  36. Kinnear, as always, is a likable presence, and he and Summers seem like they’ll have good chemistry if the show ever calms down.
  37. Behind the Candelabra doesn't really get behind anything; it just rolls around in tacky history.
  38. None of which is new, all of which is interesting. But looking at any one aspect of his life--his marriages, a single concert, his childhood, one incident--in depth might have provided more insight than this typical overview.
  39. Star-Crossed never really catches fire.
  40. As well-engineered, demographically balanced and ethnically diverse as this show is, it’s still pretty daffy how it cuts back and forth between sun and fun and drug wastoids and gangstas.
  41. As a six-episode project, you’d expect precision, compactness and speed; instead it basically, at least for the first four episodes, wanders toward the inevitable.
  42. This show is so far-fetched it makes "24" look like political reporting and "Lost" seem like a nature documentary.
  43. But Nicky Fallin is about as unlikable and uncomfortable a character as television audiences have ever been asked to care for. Maybe he would unfold splendidly over time. But it's doubtful he'll get that time. [25 Sept 2001, p.5B]
  44. Only trouble is--aside from the torture porn nature of the show--the story itself is a series of question marks that takes a plunge into the ridiculous in its climactic scene.
    • 29 Metascore
    • 20 Critic Score
    It's clear that this program is a compendium of every irritating cliche ever to assault a defenseless TV viewer. [7 Jul 2000]
  45. Lopez probably has a sitcom in him, but this isn't it. And it has nothing to do with the Latino bent. "My Wife & Kids" is funny because Damon Wayans is funny and it's about a funny family. It has nothing to do with race. Same with George Lopez. It's bad because it's bad, and bad knows no color. [27 Mar 2002]