The Detroit News' Scores

  • TV
For 163 reviews, this publication has graded:
  • 58% higher than the average critic
  • 7% same as the average critic
  • 35% lower than the average critic
On average, this publication grades 4.4 points higher than other critics. (0-100 point scale)
Average TV Show review score: 70
Highest review score: 100 Game of Thrones: Season 5
Lowest review score: 20 George Lopez: Season 1
Score distribution:
  1. Mixed: 0 out of 124
  2. Negative: 0 out of 124
124 tv reviews
  1. Flint is a timebomb, and Flint Town is an impressively crafted tick-tock of things going wrong with a place, one after another.
  2. Big issues of body, mind, identity and technology shuffle around the Altered Carbon universe, but the show often drags its feet in order to fill its individual episodes’ running times.
  3. Glover has conceptualized Atlanta so that he can do with it whatever he wants; he’s not bound by traditional sitcom rules or limitations. That’s the fun of it. It’s his ride, and where he goes is anyone’s guess. But it will be worth the trip.
  4. You end up identifying more with the people from outside the group, looking on as these people force friendships with folks from their past they’ve clearly outgrown. As viewers, we know how they feel.
  5. [It] sounds pretty dark, and it is, but the wonder of both Atwood’s novel and the series is that it actually manages to be playful and witty at times.
  6. Harlots, on Hulu, is certainly audacious. And ambitious. But whether it will be able to pull off it’s fine-line feminist balancing act remains to be seen; this show may end up groundbreaking or it may end up a train wreck. In the meantime it’s hard to look away.
  7. She’s absolutely as funny as she was two years ago, which was pretty darn funny. But the humor--most of it revolving around sex, body issues and relationships--feels dated.
  8. There are slight miscues--Kimara’s attempts to become pregnant seem a distraction--but this very busy boat stays upright and moves forward, shifting just enough to stay interesting.
  9. It’s all very silly, but there’s bite beneath some of the yuks.
  10. Feud: Bette and Joan is delicious fare, a mix of catty gossip and vile manipulation, a look at the dark underbelly of celebrity culture and the desperation that comes with aging out of the limelight.
  11. A sprawling look at the gay liberation movement in the U.S. during the past five decades, spread over eight hours, featuring an abundance of talent, occasionally too earnest, at times heartbreaking, and pretty much always eminently watchable.
  12. Just because it’s well-acted doesn’t mean Big Little Lies is worth enduring.
  13. The gore level is playful, not scary, and the idea that true love conquers all, even a craving for human flesh, permeates the show. Sheila, Joel and Abby can still live the American dream, it will just taste a bit odd.
  14. This is a comedy by natives for natives and residents near and far. It’s that undeniable sense of pride and ownership that will make you “stand up and tell ’em you’re from Detroit” between bouts of laughter and smiles.
  15. It is, to say the least, audacious. More importantly it’s interesting. It’s about the interior as much as the exterior. That’s weird. That’s good.
  16. It’s all very breathless, as it should be, and Carter scores points by weaponizing a rather large object at the first episode’s end. But the original “24” was character-driven to a large extent by Keifer Sutherland’s Jack Bauer and elevated even further when Mary Lynn Rajskub’s Chloe O’Brian came along. No such fire or chemistry is evident here.
  17. At first you’re rolling your eyes at what seems an absurd stretch of a premise, but soon enough you’re buying its always-on-edge predicaments and after a few episodes you’re hooked into its story-upon-story acrobatics. Pete may be sneaky, but he’s not dull.
  18. A Series of Unfortunate Events makes it downright difficult to “Look Away.”
  19. Lush, often surreal, filled with contradictory characters and backstabbing intrigue, The Young Pope is one of the more remarkable television shows in memory.
  20. It’s a rich mix of intrigues with the occasional bout of brutal violence as Delaney tries to build his own empire and assumedly reclaim his one true illicit love.
  21. Simultaneously heartwarming and heartbreaking.
  22. It all looks good, but Arjona never gains real traction as Dorothy and some of the side stories become distractions. Still, Emerald City is an ambitious, if derivative, project for broadcast television.
  23. It’s not bad television, really. It’s just by-the-CBS-book television.
  24. Like "The Simpsons," "Married with Children," "Malcolm in the Middle" and other Fox sitcoms, the ridiculous reach is what makes "The Mick" work.
  25. Is GGR the best show on television? No, but it’s pretty solid.
  26. For the most part, Lee Daniels traffics in tawdry messes. With Star, his latest TV project for Fox, he is at his tawdriest and messiest.
  27. What The Lost Tapes adds, beyond all the terrifying footage, is a plethora of perspectives and insights.
  28. Mariah’s World isn’t breaking any molds. But because the supreme diva Mariah is the star, there’s a certain ridiculous, hilarious, hyper-stylized charm to the proceedings.
  29. The production values are high, the acting efficient, the story teems with twists and turns.
  30. Watching Shooter as a series is like falling back into a well-known and familiar story, just one with lots of guns. It’s downright comfortable. And that’s odd.
  31. The pilot is a bit clunky setting all this up (there’s also Jack’s local bartender and friend, Eddie, played by Chris Williams), but the actors are all pretty sharp, as are the cross-generational jokes.
  32. Man with a Plan just makes you wish he’d take his sincere befuddlement elsewhere, someplace that mattered. Simply put, Matt LeBlanc is too good to be this irrelevant.
  33. By the end of the first episode you have little idea what’s going on; by the end of the fourth show the series is starting to gel a bit, but questions have been piled upon questions and soooo many characters have been introduced you need a scorecard.
  34. All these characters manage to work, at least in a broadcast-show way. This is mostly because of Mixon’s constant narration and commentary; she’s offering a sarcastic-neurotic voiceover on her own absurd life.
  35. Yes, Issa, Molly and Lawrence are all a bit insecure; heck, the world itself is insecure. But this show is strong in the face of it all.
  36. The question of whether artificial intelligence can gain consciousness is obviously timely. The question of whether Wood and company can make Westworld as emotionally viable as it is fascinating to watch remains to be seen. Still, try looking away.
  37. Van Helsing obviously wants to be “The Walking Dead” with vampires, but it lacks that show’s production values, cast and over-the-top imagination.
  38. The young skeptical priest and older exorcist priest will team up to do battle with the devil while Davis looks on wide-eyed, apparently, and this will be dragged out on a weekly basis. Heaven help us.
  39. Pitch has a simple enough premise: It follows the first female player in major league baseball. Interesting. But what do you do with it? That’s the question that lingers over this new Fox show, which is undoubtedly timely but also seems somewhat dramatically limited. ... The series wisely looks at the isolation that’s resulted from Ginny’s single-minded pursuit of baseball.
  40. Just as “Parks and Rec” was built around a strong female character (Amy Poehler), so is The Good Place and Bell brings her daffy range of sensibilities to the show. She somehow manages to run through sassy, clueless, innocent, rude, earnest, spunky, well-intentioned and selfish modes in every episode.
  41. It could all be so cheesy, but somehow it’s not. Credit DuVernay for giving us a sense of Louisiana--and black--life that rises above mere plot manipulations. You believe these people; you care for them. And that’s sweet enough.
  42. Usher slowly but surely emerges as a major contributor on this underrated series filled with genuinely funny and touching moments.
  43. Power is as sexy, flashy and addictive as it has always been. The only difference is the women in Ghost’s world have a lot more to do and say--and the series is better for it.
  44. The level of profanity here would likely give any real life vice principal a heart attack, and Gamby’s stupidity is world class. Eventually you realize he’s just a lonely, sad jerk in need of validation. Comedy, you’ll recall, is just tragedy upside down.
  45. Turturro bites into the role with bitter humor and wounded idealism. Still, it’s Ahmed, at times resembling a young Andy Garcia, who is at the heart of this series, with his innocence being stripped away as the slow wheels of justice threaten to grind his soul. It’s powerful, and timely, stuff.
  46. Mr. Robot remains one of the most dizzying, intoxicating, challenging shows on television, a gripping look at mental illness and brilliance run amok, tied to an essentially sweet, if damaged, character. It’s a show that poses Big Questions and dares to leave them hanging.
  47. As summertime smarmy yarns go, American Gothic holds promise.
  48. As gritty, dysfunctional family, crime-fueled dramas go, Animal Kingdom roars with dark promise.
  49. The show’s biggest problem, though, is it’s hard to like either of its main characters.
  50. The show is mostly a slow-burn look at Kyle as he tries to make sense of all the damage that seems to follow--and grow--around him. He may yet turn to prayer.
  51. Although this is certainly the most narcissistic talk show in memory, it depends wholly on whether you enjoy Chelsea or not.
  52. There are few serious undertones, but lots of lively excitement, despite all the lingering questions, which will assumedly be answered. Have faith.
  53. There are some fine supporting performances here--most notably from Bradley Whitford as a loyal-if-appalled Hubert Humphrey, Melissa Leo as the beleaguered Ladybird Johnson and Stephen Root as J. Edgar Hoover. But, beginning to end, this is a tour de force for Cranston. Great stuff.
  54. It’s not necessarily bad, understand, just surprisingly underwhelming considering it’s called Houdini & Doyle. One expects fireworks; instead we get consternation.
  55. This is a disaster movie writ large for TV and the simple fact is, it works despite some none-too-subtle turns. You can’t help being enthralled by a story you wouldn’t want to be a part of.
  56. Like the tremendously successful “American Crime Story: The People v O.J. Simpson,” HBO’s new film, the ultra-sharp Confirmation, is a look back at the muddled ’90s, when racism and sexism were shockingly overt, and one could be used to undercut or confuse the other on the public stage.
  57. The pitch here can be shrill. The warden makes Satan look like a nice guy, and Gil has a temper that can be wearying. But the essential tension--who will finally tell the truth? everybody is lying to somebody--makes for compelling, if exhausting, drama.
  58. It’s all a bit fuzzy, but then it’s all in good fun. Television has plenty of room for strong female characters.
  59. What starts off as a lusty and dewy-eyed dance between lovers quickly turns into a taut game of cat and mouse more titillating than the pair’s pending nuptials. Enos and Krause have palpable chemistry.
  60. Underground lingers on the slave experience, and that experience is appropriately awful and inhumane and certainly dramatic. But it’s also a show that wanders a bit too freely, undercutting its important subject matter and forward momentum by interfering with itself. As a show, it needs to learn how to keep it together.
  61. It doesn’t follow the usual rhythms of television--Apatow puts the long in longform storytelling--but there are times when you want to tell him to just get on with it already.
  62. To be sure, there are some fine performances, notably by Olivia Wilde as Richie’s former Warhol girl wife; Juno Temple as an ambitious gofer who wants to work her way up; and Ray Romano as Richie’s beleaguered right-hand man. But they’re mostly drowned in the confusion as the show veers from drama to farce to mostly poor musical interludes.
  63. You already know the outcome. Yet you can’t stop watching, thanks to Murphy’s flashy dramatization, which is just the approach the “Trial of the Century” richly deserves.
  64. The show certainly has plenty of diverse star power--Chris Rock, Amy Poehler and Michael Cera also appear along the way--but its shaggy approach wears thin until Cyrus shows up. Then again, save the best gift for last.
  65. It’s all very complicated, but at the same time easy to follow and terribly mesmerizing and haunting.
  66. Raimi shows he hasn’t lost his horror chops in directing the first episode, particularly with a spinning flashlight tension-builder. And the bloody roots of “Evil Dead” are fully honored as well.
  67. As always, this is a scattered story with multiple moving parts.... Fargo revels in presenting ordinary folk with extraordinary problems, in stripping away their everyday guises and peering long and hard at their dark potential. That it can do this through adaptations of true stories makes it all the more jaw-dropping.
  68. As the season progresses, Mapleton re-emerges and it becomes a tale of two deeply weird cities. It may all be a tease, but give The Leftovers this: It is the strangest show on television.
  69. So, basically, this is a drug-fueled Sherlock Holmes situation, although Brian does something so monumentally stupid while supposedly in his smart state at the show’s beginning that it comes close to undermining the show’s premise. Luckily McDorman, who appeared in “American Sniper” with Cooper, has an easygoing charm that helps right the boat.
  70. Instead of being seriously macabre, it goes for broad satire, although it certainly has its gory moments. It’s an odd mash-up that leaves little room for real connection to the characters, having faith instead in laughs and blood. Then again, laughs and blood have a good track record.
  71. As harrowing, dark and bloody as the premiere episodes are, and as open as the show’s direction seems to be, the comparisons [to Game of Thrones,” “Sons,” “Deadwood,” “Breaking Bad,” “The Sopranos,” and “The Walking Dead”] seem apt. This Bastard rocks.
  72. Marienthal is an appealing kid and it's nice to see Sagal back at work, but this show is just a little too sex crazy and far too predictable. [2 Oct 2000, p.5F]
    • The Detroit News
  73. This show was originally called "American Wreck", until somebody at CBS realized that could be a self-fulfilling prophecy. It's not a wreck, really, it just never gets rolling in any direction that looks interesting enough to follow.
    • The Detroit News
  74. The slow burn approach actually works nicely, assuming you can calm your appetite for immediate destruction.
  75. This is, of course, the stuff of all serial dramas, but we usually see baby steps in some direction. That Was Then promises only chaos. [27 Sept 2002, p.1C]
    • The Detroit News
  76. Just about everything that made the first season of True Detective entrancing is missing from the second, wholly re-imagined second season. In truth, only the worst, most clichéd parts remain. And yet.... If you make it to the third episode, chances are you'll keep going.
  77. Relentlessly silly from beginning to end, if this show doesn't make you laugh out loud, or at least shake your head in constant bemusement, you're a member of the wrong species. [8 Nov 2001, p.5C]
    • The Detroit News
  78. It’s not going anywhere you’d likely suspect, and the big reveal episodes have a lot of explaining to do, but this hyper-paranoid, time-twisting and addictive show is actually laying a foundation for something. How that something eventually plays out remains a question, but the ride there is an undeniable kick.
  79. What next? An unholy alliance between Aquaman's niece and the Thing's second cousin? "Birds of Prey" is for the birds. [9 Oct 2002, p.1D]
    • The Detroit News
  80. Not strange enough to be scary, but probably strange enough to be fun. [17 Sept 2002]
    • The Detroit News
  81. The Messengers seems far-fetched, even by [The CW's] standards.
  82. Thrones exults in the unexpected.
  83. Occasionally gory and suffused with black humor, there’s still a sunny sincerity to the show. Simply put, iZombie is death done cute.
  84. There are a lot of characters and talent involved here--Mary Elizabeth Winstead notably plays the bride who was left behind--but The Returned is very much a show propelled forward by its story and the questions it raises.
  85. This show fits perfectly into the network's mystery/cop-heavy schedule and audiences should be able to blur right through it comfortably. As comfortable blurs go, Battle Creek is indeed a success.
  86. As actors, Stanford and Schull have to convince TV audiences that they are not dishing out reheated versions of the performances Bruce Willis and Madeleine Stowe did in the original. Thankfully, that's not the case and these two actors are quite compelling as a couple of lost souls trying desperately to make things right.
  87. The show's two opening episodes, showing Sunday and Monday night, are really a small movie cut in half--Sunday is the somewhat puzzling set-up, Monday puts Jimmy in motion and opens his eyes.
  88. Backstrom is dicey indeed. Every time he makes a move, it's got to be part of an intricate puzzle that will be solved. More often, it's just an obnoxious guy staggering off in a direction that turns out to be conveniently right.
  89. One Child spends too much time running in place--which may reflect China’s inert bureaucracy, but falls short of riveting viewing.
  90. The eight-part miniseries, a BBC co-production that begins Saturday on Starz, is handicapped a bit by its overly hotheaded protagonist, played by James Nesbitt. But if his access as a grieving father to crime scenes and witnesses often seems a bit preposterous, the story's many side alleys and turnabouts serve as ample distraction.
  91. Near flawless in execution while filled with rarely seen intelligence and complexity, the HBO miniseries Olive Kitteridge plumbs the depths of the seemingly mundane and finds cruelty, resentment, dogged insecurity and finally, if not hope, then some level of honesty about life’s attraction.
  92. Cliches bounce off one another in a slick combination of gallows humor, inspirational bonding, deep thoughts and maudlin moments.
  93. This series reflects the way wealthy, neurotic, overly busy and sex-obsessed TV executives and producers think America lives, in other words, the way they live. They're wrong. Most of us are not TV executives. Please let Hidden Hills be hidden for good as soon as possible. [24 Sept 2002]
    • The Detroit News
  94. Braugher is the rare actor who banks on control instead of pyrotechnics. And Ruben Blades gives him strong support as the hospital's administrator, Dr. Max Cabranes. [10 Oct 2000]
    • The Detroit News
  95. A period piece with serious punch, The Knick isn’t for the faint of heart.
  96. Truth is, Johnny's predicament has a mix of emotional trauma, supernatural hoodoo and old-fashioned conniving that just might work. Or not, depending on how often the writers beat the same drum -- saving a small kid every week will get old quick. For now, let's give the show the benefit of the doubt. [14 June 2002]
    • The Detroit News
  97. The Middle East lends itself to intrigues, backstabbings, frontstabbings and long-term vendettas like few other places, and writer-director Hugo Blick lets his puzzle pieces assemble with slow, deliberate power and more than a few surprises.
  98. If "Dinotopia" doesn't come up with something else for our heroes to do other than rescue gentle folk from mean dinosaurs, the show is going to get repetitious fast. [28 Nov 2002]
    • The Detroit News
  99. This is a solid, risky show with loads of potential. Keep it coming.
  100. At times the somewhat corny diversions distract from the slow-moving main attraction. Still, true-believer horror fans will likely bite into The Strain, even if nonconverts find themselves able to resist.
  101. Although the first episodes of the new season lack the snap and sizzle of the first season’s sexual discoveries, the air of indecision that haunts the show feels both accurate and unique.
  102. Watching dad fend off guys while the girls strut around in thongs is going to get old fast. [17 Sep 2002]
    • The Detroit News
  103. For now, though, The Leftovers is properly mesmerizing.
  104. Whether viewers will feel too challenged by Ellie to smile along remains to be seen. Hopefully they won't; TV needs crazy-vain-brave risk-takers badly. [26 Feb 2002]
    • The Detroit News
  105. The Last Ship would be better off developing its own new society tensions, medical nightmares and primal-survival adventures than leaning on black-hat stereotypes. Maybe it will end up heading in that direction, maybe it will succumb to more common cliches and become lost at sea. It could float either way.
  106. Murder in the First” isn’t outright bad. It’s just an extremely derivative police procedural.
  107. Halt is wise enough to play this out against Gordon’s stress over providing for his family, Joe’s mysterious background and Cameron’s cute pixie haircut. The ad men in “Mad Men” changed a great deal; the people who put a computer in every home changed everything. And that keeps Halt and Catch Fire interesting.
  108. Morally and historically significant, emotionally wrenching and politically terrifying, The Normal Heart is more important than artful, and that’s just fine.
  109. With the tension of its premise and the promise of its family-driven drama, Gang Related may eventually work the stiffness out of its joints and become interesting. Or not. It’s that kind of show.
  110. For those who crave monsters and gore at any cost, this may do. All others beware.
  111. No matter what, the show returns with the same sense of modern-day paranoia and urgency that fueled its best seasons, and however over-the-top it goes, its real-world geopolitical concerns are real-world geopolitical concerns.
  112. The tone wavers here and there--a pair of teen brothers are too broadly drawn--but holds true for the most part.
  113. Turn becomes more tense with each episode, at least through the first three, and that’s a very good sign.
  114. 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.
  115. Handled correctly, this has “Lost” potential.
  116. 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.
  117. 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.
  118. Star-Crossed never really catches fire.
  119. [A] captivating and undeniable classic. [26 Aug 2005, p.2E]
    • The Detroit News
  120. 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.
  121. Kinnear, as always, is a likable presence, and he and Summers seem like they’ll have good chemistry if the show ever calms down.
  122. Smart without being smug, Nip/Tuck is surgically altered television perfection. [5 Sept 2006, p.5D]
    • The Detroit News
    • 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]
    • The Detroit News
  123. Relentlessly dark and slow boiling, True Detective may promise more than it can deliver. But it still delivers quite a bit.
  124. 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.
  125. Moms Mabley is a fine appreciation of a remarkable life.
  126. 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.
  127. There are knocks in Seduced and Abandoned, but none of them seem that hard.
  128. The Walking Dead may be starting to walk in circles, but the scenery is still spectacular and spooky.
  129. 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.
  130. 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]
    • The Detroit News
  131. 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]
    • The Detroit News
  132. [A] promising mix of urban decay, moral corruption and brutal betrayal that’s likely to fuel Sun.
  133. 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]
    • The Detroit News
  134. 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]
    • The Detroit News
  135. What The Newsroom lacks in vampires, serial killers and terrorist love affairs, it makes up for with topicality, intelligence and messy romances.
  136. Smarter and more creative than ABC's "Desperate Housewives," that other show about superficial suburbia, "Weeds" has edgier and wittier writing. [6 Aug 2005]
    • The Detroit News
  137. 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.
  138. The first four episodes contain more solid laughs than most sitcoms manage in a year. [13 Oct 2000]
    • The Detroit News
  139. 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]
    • The Detroit News
  140. It’s hard to say where The Bridge is going, but so far it looks like a trip worth taking.
  141. There’s just enough crazy in Ray Donovan to keep things interesting.
  142. 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.
  143. The series looks promising, if puzzling.
    • 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]
    • The Detroit News
  144. 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.
  145. 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.
  146. Behind the Candelabra doesn't really get behind anything; it just rolls around in tacky history.
  147. Family Tree is addictively silly stuff.
    • 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.
  148. 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.
  149. Massive, cruelly dense, absurdly complicated and absolutely thrilling.
  150. 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.
  151. 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.
  152. The disconnect between propriety and reality keeps the miniseries on constant edge. The entire cast is fine, but Hall steals the show.
  153. 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.
  154. Essentially, Shameless is still Shameless: A raucous, shocking, moral battleground, a family comedy taken to twisted extremes, boosted by a uniformly fine cast, and consistently entertaining.
  155. Maybe this will all become coherent. But then maybe it shouldn't. Sometimes messy is better.
  156. Fincher's unemotional style comes through in the first two episodes, and the show could use more heat. But Spacey makes it worth watching.
  157. This show is so far-fetched it makes "24" look like political reporting and "Lost" seem like a nature documentary.
  158. 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.
  159. [A] somewhat overheated but still fairly effective new thriller.
  160. Girls continues to delight and provoke in a way too few shows can.

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