The Hollywood Reporter's Scores

For 1,589 reviews, this publication has graded:
  • 52% higher than the average critic
  • 3% same as the average critic
  • 45% lower than the average critic
On average, this publication grades 3.9 points lower than other critics. (0-100 point scale)
Average TV Show review score: 62
Highest review score: 100 Top Of The Lake
Lowest review score: 0 Mixology: Season 1
Score distribution:
  1. Mixed: 0 out of 849
  2. Negative: 0 out of 849
849 tv reviews
  1. This is one of the rare situation comedies that relies almost entirely on situations, each of which is more bizarre than the next and at the same time perfectly plausible. It's almost too good.
    • 88 Metascore
    • 80 Critic Score
    Beautifully rendered as the series is, there's a high-concept conflation of the two shows here in the way it marries the mob melodrama of "Sopranos" with "Mad's" period fetishism. It's a savvy programming strategy but robs Boardwalk of a certain freshness that would otherwise elevate it to the same echelon as those TV classics.
    • tbd Metascore
    • 80 Critic Score
    It's not pretty, and it contains lots of profanity in word and thought ... but it's bound to attract attention and, with luck, lots of hard-core fans. [3 Nov 1995]
    • The Hollywood Reporter
  2. The series begins to find its pacing not long after, and we see the strength of Moura’s acting, which to his credit never races, in the early going, toward over-the-top menace or the drug-lord cliches we're all used to at this point. Credit also the fact that Padilha brings a documentary feel to Narcos.
  3. She is all over the map and that's precisely what's refreshing about her. What the world needs now is not another over-stylized, super-slick talk show.
  4. The Challenger Disaster adeptly uses its story time by leaning on Hurt to at once capture Feynman’s brilliance and captivating personality while also showing that Feynman’s own sense of compressed mortality and his adherence to scientific truth helped stop what could have been a whitewash.
  5. Seriously, one day, NBC will be run like a real network--and bask in the fact that our Pawnee pals have returned, and there are plenty of excellent episodes in store.
  6. On a night-by-night basis, Roots works the tricky balance between misery and uplift. Even if it can't tap into the sui generis newness of the original, the miniseries is often brutal and harrowing.
    • 42 Metascore
    • 80 Critic Score
    It's a fine little show, a teenage comedy that's bright, witty and filled with laughs and smiles high-school style, much more than one of those silly teen sitcoms that too often passes for series programming. It's slightly sexy, fun and funny, filled with the kind of personality that could turn it into a solid Saturday night hit. [3 Mar 1994]
    • The Hollywood Reporter
  7. A canny revamp, well-lit and visually eye-popping in a shadowy-neon way that hints at the old with several familiar faces while showcasing newcomers including redheaded Ashlee Simpson-Wentz.
  8. A dynamic, vivid, well-acted look at two major 20th century writers who shared wars on the battlefront and at home.
  9. Oxygen's entertaining new spinoff reflects well on the blockbuster franchise and illuminates the pressures faced by talented kids on the brink of showbiz success.
  10. Although the premiere could be more energetic, there's enough going on to coax you to revisit the Buffkins. Hephner shows genuine star potential with his portrayal of brooding Morgan, the moral center of the show. His performance is reason enough to keep watching, though others also stand out.
  11. IFC's new 10-episode, late-night original comedy Z Rock is effortlessly, genuinely hilarious.
  12. Directed with aplomb by Mat Whitecross, who periodically decides, in the course of this four-hour feast, to stop making a movie about a man and instead make a Bond movie, Fleming is the kind of movie that winks at you constantly and you never get annoyed by the intimations.
  13. Better Things isn't groundbreaking when judged merely as a single-mom sitcom, but it finds its freshness in how Adlon examines it in her personal world; the stories and struggles are familiar even though they are contained within a world most people aren't part of, and she makes whatever daily struggles she faces with her family relatable.
  14. Mostly Moone Boy is a coming-of-age story for a kid probably not yet equipped to battle the real world. But there’s so much humor and sweet-but-not-sacharrine moments (and absurdity), that it’s the kind of coming-of-age story you can’t wait to see Martin (and O’Dowd) experience together.
  15. Life's clean, clear storytelling is worth a go-around.
  16. Even more than Murdock in Daredevil, Jessica Jones dominates the proceedings in the show that bears her name--and thanks to Rosenberg and Ritter, the first season is well on its way to delivering.
  17. Keeping it in the family, so to speak, could rejuvenate Orphan Black if you thought it maybe needed it. For everybody else who remained joyfully entertained by the story and by Maslany's many roles, this slight rejiggering does clear up some distractions and brings back fond memories of season one when this show was such a revelation.
  18. Fun to watch, cleverly written and filled with engaging characters.
  19. After going from the humble creation of Superman to the filmic juggernauts like Avengers, those with a growing interest in the world of comics should leave satisfied with their new knowledge, while veteran fans will likely be drawn in by a strong sense of nostalgia, particularly given the ample amount of archival footage.
  20. There's a strong supporting cast, including Loretta Devine as Stone's no-nonsense secretary, but the big attraction is Miller's Stone and his transformation from heartless corporate lawyer to protector of the little guy.
  21. Becoming Us, which is successful both as education and entertainment, vividly demonstrates that although some of Ben’s issues are unique, many are typical.
  22. What works in the early going of season two is that the fall is almost always more thrilling, if not engaging, than the buildup. Escobar senses the loss of power and Moura does some of his best work as viewers read the worry and interior thinking on his face.
  23. As it stands after two entertaining episodes, there's a lot that Agent Carter can do going forward. It already feels like a series, and if it can keep that up--plus highlight the hell out of Hayley Atwell--then a second season should come easy.
  24. It has chills and humor and the ability to take a procedural story and twist it.
  25. Boston’s Finest is a sleek and engaging work that is a world away from Southie Rules or even Cops, but it fits in perfectly with TNT's love of Law & Order.
  26. For now, "Persons" is delightfully weird and foreboding.
  27. For those new to the legend, this is a fresh, and delightfully color-blind, approach to the tale.
  28. Thanks to its camera-ready cast of extraordinarily real women, Mob Wives' version is no less affecting. As for those other real housewives franchises, their endless squabbles and social climbing antics are rendered rather trivial after you watch the first five minutes of Mob Wives. The real action, it turns out, is on Staten Island.
  29. It makes mincemeat of conventional TV taboos and has, in Parker, a star whom the camera adores.
  30. Maternal concerns aside, the show is eye-opening. Although it brings to life many prison cliches, this isn’t a Hollywood version of a prison; it’s an actual prison that’s completely over-crowded.
  31. Contemplation and condemnation, all wrapped up into one, with no easy answers at the end of it all. The fact that Dark Net never allows you to entirely pin down its perspective keeps the proceedings riveting.
  32. This is challenging fare, but the smart storytelling and realistic portrayal of professional relationships is unique and worth checking out.
  33. The first pair of episodes augur a breezily entertaining addition to the TNT stable of dramatic originals.
  34. When everyone behind the camera is an admirer, including Ocean's director Steven Soderbergh, the doc's exec producer, then you won't get much introspection. But, boy, do you get stories told with the vivid sense of drama and imagery that old Homer would no doubt admire.
  35. It's not a perfect pilot; most sitcoms aren't. But, like a precious few others, you can see that everyone involved is funny and connected to the concept.
  36. Christopher Wilcha’s documentary effectively combines well-chosen performance footage from the three-hour show with enough fly-on-the-wall rehearsal peeks to provide an intriguing insider’s view.
  37. This remains a superb, positively riveting TV drama, however repetitive the themes and grandly implausible the scenarios.
  38. The diva devotee's undeniable passion for the material, plus a cast of almost gratuitous distinction, helps cover for a narrative that's sometimes more juicy than weighty.
  39. Under Michael Dinner's steady directorial hand, it's dark, tense and conspiratorial, a far cry from the camp sci-fi tricks of its predecessor.
  40. There's an obvious familiarity to the subject matter, but with National Treasure, Thorne never makes it seem rote, boring or insignificant.
  41. Episodes build to key revelations or legal turning points and they sometimes exceed the standard hour boundaries and as propulsive as episodes are, they feel substantive, but also still trimmable. The series has an urgency, but in that urgency there's also an occasional sloppiness.
  42. All six of the Katydids pop with strong comedic performances in Teachers, giving you faith that there will be no lag in this 10-episode first season. And the series also benefits greatly from casting kids who aren’t annoying and also knowing how often to employ them in the jokes.
  43. It's imperative to make [a commitment] to this series because it doesn't really find itself until the second and third episodes. That's when you feel and recognize the beauty and the pain that Cynthia Mort smartly and sensitively portrays in her fiercely honest examination of sex in relationships.
  44. This role is tailor-made for Baker, who has a flair for playing irreverent characters who are crucial to the success of the system even as they tweak its authority figures.
  45. These five episodes find The Carmichael Show pushing into more thematically extreme territory. I think I'd venture to say that at times big laughs take a back seat in the process of figuring out how to make even tougher subjects generally funny. Carmichael and his creative team are very consciously attempting to raise the ante on what they've done before.
  46. Even past the halfway point (Amazon made the first six episodes available to critics), The Man in the High Castle is still refreshingly intriguing and worth the investment.
  47. The show is so thematically rich as an exploration of extreme steps women had to take to find power 50 years before they would receive the franchise, that I mostly didn't miss the male stars in their protracted absences.
  48. While all the philosophical, existential and surprisingly intimate moments of their friendship are the wonderfully surprising backbone to Wilfred, the hook is the absurdist situations and brilliant humor.
  49. House of Lies is giving him (and the rest of the actors) something fresh and different to devour, which makes it a show you need to consult with.
  50. This isn’t look-at-me journalism with a fitted Gap t-shirt. It’s more of a holy-hell-can-you-believe-this approach that fights perfectly on a cable channel trying to do something different.
  51. WMC--that's what the hip people will no doubt soon be calling it--sprints energetically from the gate carrying genuine qualitative heft: charismatic leads, snappy dialogue and an agreeable blend of lighthearted and dramatic.
  52. Blindspot (not the title you’d expect or hope for when your series is about a woman covered in tattoos) has more than enough going for it early on, despite some real bouts of silliness, that it’s one of those few and elusive pilots that can be endorsed for at least initial evaluation. The reward for spending an hour is mostly worth it.
  53. The early episodes are so charmingly brainy and move with such a light step--Paul McGuigan of Sherlock and Scandal knows his way around a flashy pilot--and the cinematography is so stylish--not surprisingly, everybody loves photographing Mike Colter--that you only sometimes realize that the things you expect to get out of a superhero show are largely missing.
  54. If the first season of The Leftovers sometimes felt insular, the second premiere instantly proves that the show is actually boundless. Just as the first-season cast balanced prickliness and empathy, it's easy to get into the Jarden version of the story because of the Murphys, a family led by the terrific Kevin Carroll and newly minted Emmy winner Regina King.
  55. A very un-Lifetime-like drama with sharp comedic overtones, one so well-constructed that dudes won't even feel the need to check their gender at the door.
  56. It takes nothing away from this genuinely talented group of kids to express even greater admiration for the promotion and marketing.
  57. The script, from Josh Applebaum, Andre Nemec and Scott Rosenberg, is true to the spirit of the original and exciting enough to make you swallow the premise and beg for more.
  58. Deep inside Philanthropist is a smart, earnest yet realistic series waiting to be told, and the pilot makes an intriguing beginning.
  59. Fresh Off the Boat finds jokes in plenty of other, non-racial issues, and that’s often the bonus that gives you confidence this is a show with legs.
  60. "The Unit" is filled with thrilling action and heart-pounding adventure.
  61. HBO's The Defiant Ones, written and directed by Allen Hughes, spends all of its four episodes on Dre and Iovine, covering their separate lives and their "improbable partnership" together in a gripping, digestible deep dive that always remains intimate.
  62. It’s fun, it’s entertaining, it’s got some scares and some action and plenty of secrets to unveil.
  63. In the end, the series itself is something fresh, welcome and a little tart -- and just like a nice citrus fruit, it'll be hard to stop with just one of these.
  64. This kind of limited series is a step in the right direction. And it sure helps that the first hour is intriguing as hell and filled with a lot of storytelling promise. If viewers catch the pilot, they’ll be back for the next episode. Some critics, too.
  65. Smits' charisma, plus the fact that future episodes promise more intellectually involving stories, bode well for this series.
  66. The action is swift, the patter is clever, the casting is smart and the special effects are nimble, all of which adds up to a flashy hour of fun.
  67. Lipkin demonstrates a keen eye for nuances of class and social structure and a unique perspective on how to attain the American dream.
  68. Welcome to Sweden knows the story it wants to tell, and it does so in tightly crafted half-hour blocks that are fjords full of charm.
  69. If Lindelof and Perrotta can somehow strike a balance of the human, emotional fallout while also delving into an explanation of the oddities involved in "the sudden departure," then The Leftovers could be one of the more riveting new series.
  70. Though the character-driven docu-series format the show takes on may look run of the mill, beyond its surface appearance Generation Cryo is genuinely engaging.
  71. The pacing, the writing, the directing all contribute to making Thirteen seem unusually fresh within the framework of a familiar story, but there's no getting around the fact that Comer, as Ivy, absolutely seizes the opportunity here to be daring.
  72. A show that has smarts, guts, style and attitude to spare. [14 Apr 2003]
    • The Hollywood Reporter
  73. Hip in tone but traditional in spirit, it's not at all hard to feel welcome at the Captain.
  74. Darabont uses the TV-series format to break convention not only by defying the predictabilities of the horror genre (boo!) but also by infusing the recipe with more storytelling elan.
  75. Not the real thing but a contrived setup that, nonetheless, radiates a mesmerizing draw that keeps you watching. [24 Jun 1993]
    • The Hollywood Reporter
  76. "How I Met Your Mother" introduces a level of unpredictability not usually found in comedies.
    • The Hollywood Reporter
  77. It's a one-of-a-kind thriller that rewards your attention with nonstop action, endless surprises, exciting cinematography and a great assortment of characters.
  78. It's compelling from minute one to credit roll--exciting, smart, realistic and brilliant, all in one brightly lit package.
  79. As a follow-up to the groundbreaking summer series "Hopkins 24/7" that ran nearly eight years ago, this revisit to the medical center is, if anything, even more grounded in authenticity and honesty, even if it sometimes feels compelled to pile on the soapy elements.
  80. The perspective one gets from inside the House of Saddam is different than media reports from the outside and is, in itself, an important reason to tune in.
  81. There's a nice balance of humor (Groff in particular gets to milk the comedy) and emotional drama coursing through it (like Girls, which makes a fine pair for it on Sundays).
  82. Justified will not stretch the dramatic envelope the way many FX shows have. Still, with its white knight of a hero, fine guest stars and intriguing relationships, one can rely on the show to deliver 13 hours of entertaining and occasionally taut crime drama.
  83. Through four episodes, the new season of American Crime is another tantalizing dip into a dozen intellectual pots and once again, this is both enriching and frustrating, though more of the former than the latter.
  84. Coppola and Schwartzman, who has a great cameo about a reporter doing a podcast, dole out just enough in these half-hour episodes to keep it light, funny and (by the fourth episode) a bit more brazenly quirky, while also not losing touch with the story's core--which is the music.
  85. This is a show packed with smart people who make things happen and, even when following a predictable forgery crime--one that shoots off into interesting side alleys--always are one step ahead of viewers' expectations.
  86. Unlike NBC's previous musical experiments, it's likely that The Wiz Live! will actually live on in replays and on DVD as audiences try to notice new details, re-experience adored numbers and not have to pause every five minutes for commercials.
  87. It's family-friendly and adult-pleasing, over-the-top and nightmarish, witty and deep all at the same time.
  88. Fortunately, when it isn't asking you to chuckle along with Lance Armstrong's coy self-awareness, Tour de Pharmacy is smart, silly and often hilarious.
    • 79 Metascore
    • 80 Critic Score
    The production is handsome in the dreamy BBC style, and writer Andrew Davies has done his usual efficient distillation job, including adding a few imaginative touches involving galloping horses and nubile young bodies that would have surprised Austen.
  89. Some of [the often simple but absurd comedy] was lighter in spots than others, but the series has a very distinctive comedic voice and a striking visual approach that it keeps up through the episodes
  90. The series, which moves along at an engrossing clip, and never allows its characters easy outs, clearly has aspirations to break out of legal-thriller and activist-centric conventions, and should appeal to crime fans as well as those who enjoy a novelistic approach to television.
  91. The first episode, entitled “Sandy Passage,” certainly sets a high bar--a pitch-perfect, brilliantly performed send-up of Albert and David Maysles’ seminal Grey Gardens (1975).... The other two episodes made available for preview aren’t quite up to the level of “Sandy Passage,” but they’re still far from duds.
  92. Is it right to so harshly prosecute someone's intent to do harm? Or is Sadequee a whole-on victim of the anti-Middle Eastern sentiment (directed even at U.S. citizens) that has been stirred up in the wake of 9/11 and is still stoked to this day? No easy answers, here.... There are other complicated stories here as well; the most moving explores the friendship that blossomed between lawyer Nader Hasan and actress Kerry Cahill in the wake of the 2009 shooting at Fort Hood, Texas.
  93. Going into Season 2, the acting performances are the primary reason to tune in.
  94. Brooding, seductive and smart.
  95. The latest (and last) in the series featuring superhero librarian Flynn Carsen (Noah Wyle) packs more humor, suspense and adventure into two hours than either of its two predecessors.
    • 84 Metascore
    • 80 Critic Score
    After more than a year away, Rescue Me is still a compelling drama, full of strong writing and skillful acting, but it's the show's mix of redemption and ruin that genuinely sets it apart from the pack.

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