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 4.5 points higher than other critics. (0-100 point scale)
Average TV Show review score: 70
Highest review score: 100 The Handmaid's Tale: Season 1
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. 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.
  2. [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.
  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.
  4. It’s all very complicated, but at the same time easy to follow and terribly mesmerizing and haunting.
  5. Massive, cruelly dense, absurdly complicated and absolutely thrilling.
  6. Thrones exults in the unexpected.
  7. 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.
  8. Smart without being smug, Nip/Tuck is surgically altered television perfection. [5 Sept 2006, p.5D]
    • The Detroit News
  9. Lush, often surreal, filled with contradictory characters and backstabbing intrigue, The Young Pope is one of the more remarkable television shows in memory.
  10. 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.
  11. 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
  12. Flint is a timebomb, and Flint Town is an impressively crafted tick-tock of things going wrong with a place, one after another.
  13. 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.
  14. [A] captivating and undeniable classic. [26 Aug 2005, p.2E]
    • The Detroit News
  15. 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.
  16. 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.
  17. Girls continues to delight and provoke in a way too few shows can.
  18. Usher slowly but surely emerges as a major contributor on this underrated series filled with genuinely funny and touching moments.
  19. For now, though, The Leftovers is properly mesmerizing.
  20. 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.
    • 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.
  21. 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.
  22. The disconnect between propriety and reality keeps the miniseries on constant edge. The entire cast is fine, but Hall steals the show.
  23. 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.
  24. 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.
  25. 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.
  26. 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
  27. Simultaneously heartwarming and heartbreaking.
  28. 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.
  29. As gritty, dysfunctional family, crime-fueled dramas go, Animal Kingdom roars with dark promise.
  30. 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.
  31. 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.
  32. 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.
  33. 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.
  34. 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.
  35. The tone wavers here and there--a pair of teen brothers are too broadly drawn--but holds true for the most part.
  36. 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.
  37. 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.
  38. 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.
  39. 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.
  40. 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.
  41. Moms Mabley is a fine appreciation of a remarkable life.
  42. 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.
  43. 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.
  44. 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.
  45. 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.
  46. 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.
  47. The first four episodes contain more solid laughs than most sitcoms manage in a year. [13 Oct 2000]
    • The Detroit News
  48. A Series of Unfortunate Events makes it downright difficult to “Look Away.”
  49. 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.
  50. 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.
  51. 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.
  52. 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
  53. Not strange enough to be scary, but probably strange enough to be fun. [17 Sept 2002]
    • The Detroit News
  54. 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.
  55. 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.
  56. 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.
  57. 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.
  58. 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.
  59. 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.
  60. [A] promising mix of urban decay, moral corruption and brutal betrayal that’s likely to fuel Sun.
  61. 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.
  62. Is GGR the best show on television? No, but it’s pretty solid.
  63. 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.
  64. What The Newsroom lacks in vampires, serial killers and terrorist love affairs, it makes up for with topicality, intelligence and messy romances.
  65. Occasionally gory and suffused with black humor, there’s still a sunny sincerity to the show. Simply put, iZombie is death done cute.
  66. Although this is certainly the most narcissistic talk show in memory, it depends wholly on whether you enjoy Chelsea or not.
  67. 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.
  68. 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.
  69. 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.
  70. What The Lost Tapes adds, beyond all the terrifying footage, is a plethora of perspectives and insights.
  71. 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.
  72. 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
  73. It’s hard to say where The Bridge is going, but so far it looks like a trip worth taking.
  74. There are knocks in Seduced and Abandoned, but none of them seem that hard.
  75. 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.
  76. Handled correctly, this has “Lost” potential.
  77. The slow burn approach actually works nicely, assuming you can calm your appetite for immediate destruction.
  78. Family Tree is addictively silly stuff.
  79. 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.
  80. 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
  81. Relentlessly dark and slow boiling, True Detective may promise more than it can deliver. But it still delivers quite a bit.
  82. The Walking Dead may be starting to walk in circles, but the scenery is still spectacular and spooky.
    • 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
  83. This is a solid, risky show with loads of potential. Keep it coming.
  84. 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.
  85. A period piece with serious punch, The Knick isn’t for the faint of heart.
  86. The production values are high, the acting efficient, the story teems with twists and turns.
  87. There are few serious undertones, but lots of lively excitement, despite all the lingering questions, which will assumedly be answered. Have faith.
  88. 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.
  89. Like "The Simpsons," "Married with Children," "Malcolm in the Middle" and other Fox sitcoms, the ridiculous reach is what makes "The Mick" work.
  90. 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
  91. 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.
  92. As summertime smarmy yarns go, American Gothic holds promise.
  93. Turn becomes more tense with each episode, at least through the first three, and that’s a very good sign.
  94. 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.
  95. 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.
  96. It’s all very silly, but there’s bite beneath some of the yuks.
  97. 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.
  98. The series looks promising, if puzzling.

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