The Hollywood Reporter's Scores

For 1,453 reviews, this publication has graded:
  • 53% higher than the average critic
  • 3% same as the average critic
  • 44% 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: 61
Highest review score: 100 Fargo: Season 2
Lowest review score: 0 10.5: Apocalypse
Score distribution:
  1. Mixed: 0 out of 775
  2. Negative: 0 out of 775
775 tv reviews
  1. The series, from Liese's Herizon Prods. and New Line Television, is remarkable for the way it compresses time and hones in on pivotal moments.
  2. What's different--and refreshing--about ABC's No Ordinary Family is that the efforts made to convince you that the Powells are normal, while entirely sincere, don't last long. Their supposed normalcy disintegrates into something more fun and potentially more compelling well before the pilot's end credits begin to roll.
  3. [Ed Burns is] not trying to reinvent the wheel, just trying to tell a good, gripping yarn in ten episodes. Based on the first four installments (all of which he helmed and authored), Burns has done pretty well.
  4. Fontana and Levinson probably couldn’t write a better TV character than Sanchez or create a better TV setting than Iberville Parish.... What’s really missing is something Serial, The Jinx and Making a Murderer all had: a suspect.... In any case, Killing Fields at least generates anxiety and a desire to see what happens next.
  5. Early on, Hotel hasn't hooked me with its storytelling, but it's always fun to see what the series does with its repertory acting company and with new additions. Throw in the normal grotesquerie and visual panache and that should keep me going for a while, even if all of the humor appears to have been funneled into Scream Queens.
  6. There's enough to like about this series to hope for its return later in the season. [3 Aug 1998]
    • The Hollywood Reporter
  7. With its large ensemble cast and frequent flashbacks--visiting and revisiting events that occurred from 23 minutes to 13 months in the past--watching Event is like riding a contraption that is half time machine and half bumper car.
  8. Although this Valley is too deep at times, there are enough elements to provide a fun, action-packed experience.
  9. Both Emerson and Caviezel are compelling and the way Nolan and Abrams have constructed the look (lots of nourish far-away shots in crowded streets, a sense of contained doom in an urban city) bodes well. That alone is worth the investment.
  10. Better dense than dumb, however, and the move by Black Sails into something unexpected--better acted and better written than you might have guessed--is its own little treasure.
  11. The pilot is one of those good-not-great propositions that many pilots are, particularly those trying to establish a complex world.
  12. As first nights go, this was a winner for Corden.... This is very much a show under construction.
  13. Arrow, proves to be both on-brand and entertaining--if you turn off the snark detector and downplay the need for plausibility or logic.
  14. A slick and earnest soap about rival families in South Florida.
  15. Silly, sophomoric stuff that is sure to please its television audience.
  16. A surprising drama about ethics, aiming to be more than a mere montage of climaxing clients.
  17. There's a great cast here--including Zeljko Ivanek as the president's Chief Of Staff and budding nemesis to Elizabeth; and Bebe Neuwirth as head of the staff Elizabeth has inherited. Yet the secondary players have yet to pop.
  18. Battle Creek works best when it lays on the quirkiness and sputters a bit when it gets too coy or sappy about the crimes the detectives are solving. But the series, thanks to Winters and Duhamel, is very entertaining and kills an hour with ease (as most good CBS procedurals do).
  19. "Dr. Katz: Professional Therapist" is not always as clever or as comically savvy as it thinks itself. ... Yet at this point, there are more than a few scripted inventions to keep the viewer tuned in and returning for future sessions. [25 May 1995]
    • The Hollywood Reporter
  20. The Presidents' Gatekeepers is an engaging watch for most, though some segments are more accessible and interesting than others, especially when the history and details of those others become dense and the names become unfamiliar for younger audiences.
  21. There is hope that Better might turn into a solid series: the writing is smart and patient, and dialogue wed to Casey's good-guy dopiness lands well.
  22. Matador isn't a comedy, but it has its moments of levity, which is smart--the show shouldn't take itself too seriously, and those very Rodriguez (who directed the pilot) touches of sudden jump cuts and cartoonish violence work perfectly with the overall aesthetic.
  23. Sci-fi purists might find it the taste of CBS' "Threshold" disconcerting, but for the rest of us, this is scary fun and suspenseful dramedy.
  24. Inspired by the 1987 feature film, also steamy, with Dennis Quaid and Ellen Barkin, the pilot is dense but awkward while we pick through the accents and try to figure all the twisty relationships among the twisty characters. But there's a nice bounce to the strong cast and a fresh and delicious (and steamy) locale. [7 Aug 1996]
    • The Hollywood Reporter
  25. There's a lot of genre-bending in this one but some real entertainment value, dramatic potential and, hell, if it can be half of what Battlestar Galactica was, that's a winning combination.
  26. What keeps Goliath watchable, and it's certainly quite watchable, is the superlative ensemble cast, particularly Billy Bob Thornton, whose gift at taking predictably quirky characters and making the beats of that quirkiness slightly off-kilter is close to unmatched.
  27. Maybe a solid Western-ish offering like Longmire will be good enough.
  28. [The Ranch is] unexpectedly sensitive, well-acted and formally adventurous, in addition to often being broadly funny.
  29. Whitely succeeds in the basic goal of Last Chance U, which is to make you care about the success or failure of a JUCO football team in Mississippi. ... Maybe the next four episodes will offer more Scooba, more variations on the redemptive "last chance" theme and perhaps an introduction to a jock willing and able to read "The Most Dangerous Game."
  30. Zoo is fun, escapist fare. The kind of show that will make you want to pop some popcorn and plop down on the couch.
  31. Although that dictum doesn't fill Whisker Wars with Deadliest Catch levels of dramatic tension, this detour into the world of competitive bearding is worth a gander or two.
  32. The visual style is nothing terribly special, but the hues are rich, the writing reasonably clever and the premise a healthy cut above the often lame-o material that passes for creativity in the kiddie toon universe.
  33. [An] unflinching and engaging look at the lives of a disparate group of women in their 20s and 30s whose share a love for this rough-and-tumble sport.
  34. What lends this passionate new USA Network drama series much of its idiosyncratic energy is an exceptionally committed performance from the exquisite Annette O'Toole. [24 Jul 2000]
    • The Hollywood Reporter
  35. Mob City is a big, bloody, flashy, violent and pulpy exercise that slowly builds into some solid entertainment and it’s a fine, identity-bending effort on the part of TNT.
  36. In many ways, The Bridge is better in season two than in season one, but for some reason it decided to triple-down on the plot and make the whole thing a complex web of interconnected stories.
  37. This season’s determination to be bleak and honest isn't as pleasurable. The series is very good at what it does, but I can’t help thinking that more Gonzaga, Peet and Gallagher--in upbeat story form--would go exceptionally well with less dire versions of the excellent Lynskey, Zissis and Duplass.
  38. Not all of the acting works all of the time, but the cast holds it together when necessary, guided with assurance by Montgomery, who alone deserves another episode or two just to appreciate.
  39. A charming small package. ... As was true of the 1989 feature film, TV's "Honey" transmits good, buoyant fun. [25 Sep 1997]
    • The Hollywood Reporter
    • 64 Metascore
    • 70 Critic Score
    So far the characters are intriguing, even while some appear to be dunderheads; everybody is being almost unbelievably upbeat and nice. But, despite the trademark MTV cutting and pop music accompaniment, the action will have to pick up soon, or the show will become mired in the torpor that made "An American Family" tough to sit through. [21 May 1992]
    • The Hollywood Reporter
    • 59 Metascore
    • 70 Critic Score
    While there's nothing particularly compelling or memorable about Las Vegas, it is an undeniably fun action romp with an appealing cast. [22 Sept 2003]
    • The Hollywood Reporter
  40. Despite feeling like the concept owes quite a bit to the British series Gavin & Stacey, and a nagging suspicion that the evolution of one couple completely smitten and the other ready to spit on each other will take a long time to come around to four friends and two happy couples, that's not a problem if the jokes are funny. So far, so good.
  41. The best and most honest thing you can say about Monday's premiere is, "He didn't break it." He also didn't try to.
  42. A solid if unspectacular story about one of the most unlucky lawyers ever depicted on television.
  43. As for first impressions, I liked it. ... Slight nitpicking should not obscure the fact that overall Wilmore was funny; his show was smart and thoughtful, has a bright future and seems an excellent fit with Stewart and the Comedy Central brand.
  44. Enjoyable but hardly revealing for longtime fans, the doc provides a reasonable introduction for younger audiences.
  45. NCIS: L.A., like its parent, relies on a sturdy, mostly youthful cast, sporadic action, and sprightly dialogue.
  46. The first hour moves slower than people might be expecting, but builds to and ends on a wonderful cliff-hanger that is partly but not fully solved in the second episode.
  47. Stoppard's storytelling structure has an odd rhythm to it, and White's direction can be both majestically beautiful and transitionally jarring. But combined, their choices allow Parade's End to achieve an exquisiteness, a sense of high art.
  48. A sassy piece of voyeuristic candy that explores the Russian immigrant community of Brighton Beach, N.Y.
  49. This might make a better premise for a movie than a series, but Fox is giving it a shot amid its Sunday animated comedies. It could pay off thanks to above-average writing, a winning performance by Tyler Labine and an understanding by the producers that this series must walk a tightrope to avoid becoming too sweet or cynical.
  50. You'd think this would lead to all manner of generic story beats. But LaBute and his writers (as well as stalwart TV director Michael Nankin, who does some truly terrific, atmospheric work in these first three installments) manage to give the material a distinctive tweak or two.
  51. It remains a wholly impressive piece of work, stylish and graphic and bold in equal measure while at the same time greatly lacking a cohesive focus.
  52. This is a show that will benefit from some fine-tuning. What it lacks in originality it should make up for in content, and in the end we all know that this is a franchise (of sorts) that has very good bones.
  53. There's no shortage of laughs.
  54. The new show dovetails nicely with its lead-in to present a solid hour of skewered news and punctured pomposity.
  55. There's less of voyeuristic queasiness here than in those other shows [Hoarders and Intervention]. Anyway, who doesn't love rooting for the little gal (yes, the couponers are all female in the show's first two episodes) in a quest to outwit the corporate food industry?
  56. There are so many characters and storylines in this complex series that to keep their arcs moving dramatically forward, writers David Benioff and D.B. Weiss, creators of the series and custodians of novelist George R.R. Martin’s world, have to parse out so many bits of dialogue and scenes to so many different actors that large chunks of a season often feel like they bounce around frantically, spending little fragments of time with one character and racing across Westeros to service another ad infinitum.
    • 67 Metascore
    • 70 Critic Score
    A word about the supporting cast: excellent. Holland Taylor is an expert at playing strong-willed, domineering women and shines as Evelyn, Charlie and Alan's mother. There are similarly strong contributions from Hinkle as Judith and from Melanie Lynskey as Rose, a nonthreatening stalker with a fixation on Charlie. [22 Sept 2003]
    • The Hollywood Reporter
  57. There's still plenty of room for Hindsight to grow, and plenty of reasons to stick around for it to happen. Crucially, the show is ultimately more than the sum of its scrunchies, beepers and AOL accounts.
    • 53 Metascore
    • 70 Critic Score
    No one is likely to mistake ABC's "8 Simple Rules for Dating My Teenage Daughter" for the next great comedy, but it is nicely written, decently paced, solidly performed and ably directed. [16 Sep 2002]
    • The Hollywood Reporter
  58. After all the cream-puff politicians and supposedly brilliant strategists that the Underwoods have fooled all too easily in the first two seasons, a little payback and a little failure plays well for House of Cards.
  59. It is at times charming and different, and a good fit for Lifetime. It just falls short of a higher calling.
  60. Season two quickly confirms, in the first four episodes, that Leary has found out what everyone does best from the growth seen last season. Hendrix gets a major storyline that continues her character's evolution.
  61. This is a warmhearted dramedy, which gushes charm and family appeal.
  62. Although Whedon infuses Dollhouse with an impressively detailed story line and social structure as well as nifty production values, the show lacks something for viewers to grab onto.
  63. Despite a strong inaugural episode, there are still some kinks to be worked out. Wheaton, channeling a nervous energy, only appeared to relax fully during a few of his jokes, but much more of the material felt stilted. It's a small thing that will surely only get more streamlined as Wheaton settles into the role.
  64. Yes, it can often sound like a pulp setup bound to go sideways, but Banshee ends up being taut, entertaining and smart enough, and you won't completely turn your brain off.
  65. The latest iteration of the genre of celebrity re-introduction--and one of its more amusing--is CBS' new show Same Name.
  66. Despite its 1980s ambiance, you can't simply dismiss the show. It has some genuinely funny lines, though it's not clear who to thank for that.
  67. They are real people with plausible emotions. And in the hands of Josh Schwartz (Gossip Girl, The O.C.), Amy Harris (Gossip Girl), Bushnell and two other executive producers from the CW's Hart of Dixie, the storytelling has a chance to be handled maturely.
  68. What emerges is a drama that is solid, though not spectacular, and a star more charismatic than complicated. [24 Sept 2001]
    • The Hollywood Reporter
  69. Like the later season episodes of the show itself, The Unauthorized Beverly Hills, 90210 Story is mildly entertaining and a fun trip down memory lane.
  70. The improv style when done well, as it is here, doesn't generate sidesplitting laughter, but it does produce a steady stream of deliciously enjoyable moments.
  71. Such soft areas, and a feeling of forced quirkiness, keep Big C from being a Class A series. Still, it's a show that, like Cathy, almost certainly will find its footing as time goes on and, like terminal illness, undoubtedly will provide a few surprises before the end.
  72. The show is pretty darned funny, especially once you get past the 45-minute pilot and into the half-hour regular episodes (smaller is better, actually).
  73. It's clear that this new Fox original series has its class act together as it follows singers both on the verge or stardom and just starting out as they chase their dreams in the capital of country music.
  74. Pitch has an admirable sense of scale and not overselling its main plot. ... The Pitch pilot ends with a twist that doesn't enhance anything and, in fact, made me concerned about how the show might be structured moving forward.
  75. The show has a complex rhythm involving characters, satire and sight gags. You can watch "Barker" again and find things you missed the first time.
  76. Pretty much all of the success in 11.22.63 comes from Franco being able to take the concept from bizarre to believable, with a major assist from Cooper, who combines with Franco in the early episodes (and flashbacks) to give this series its much-needed dramatic believability.
  77. It jolts along with humor, suspense, insight and a fair amount of oozing blood.
  78. Chance is erratic and sometimes frustrating. But it battles hard to win back approval. And overall the glitches are outweighed by the finer creative points.
  79. All of this could play like an insufferable new-age soap opera, and, when the focus is off of Beals, occasionally does. But from the first scenes, it’s clear Proof is trying to tweak convention wherever and whenever possible.
  80. The miniseries manages to be both thought-provoking and at times emotional, doing well at illustrating common skepticisms of Christianity while also showing Barabbas' own transformation.
  81. Season 2 features an expanded role--probably too greatly expanded--for Dale (Todd Stashwick), the dull-witted, violent villain and nemesis from Traveller days. Even so, Izzard and Driver remain a joy to watch in this odd but fascinating series that is derivative of nothing on TV.
  82. Holloway and Callies also take some time growing into their roles, so what keeps you watching early on are the stellar guest turns.... By episode four, titled "Blind Spot," the show finds a nice groove all around.
  83. The decision to focus just on Houston's most meteorically successful years--where, for a little while, she probably was happy--makes Whitney a fairly flattering portrait that is only lightly a cautionary tale.
  84. Julia Louis-Dreyfus is at the top of her game. Her expressions, physicality and timing are right on the mark. Her vocals are a treat and flow naturally from the story. [14 Apr 2003]
    • The Hollywood Reporter
  85. "Against the Grain" is kitsch masquerading as rugged regional realism and is, surprisingly, involving on both counts. [29 Sep 1993]
    • The Hollywood Reporter
  86. Although the original remains the greatest (at least, based on the single Cleveland episode made available for review), the newer sitcom has charm, wit and actresses who could coax laughs reading the fine print of a credit card agreement.
  87. As questionable as the setup sounds, it actually strikes the right tone by neither making fun of nor blindly praising the competitors for their quirks (of which they have many).
  88. Sirens is a better than expected offering and probably better than the kickback it’s likely to get when it comes to faulty memories and dusty legacies.
  89. It's quip-heavy, doesn't complicate things with too much plot, keeps the pacing brisk and litters the TV screen with beautiful people.
  90. That's a lot of eccentricity, but creator/writer Noah Hawley meshes humor and pathos with deft plotting and dialogue.
  91. While it's not exactly Breaking Bad, stepping away from the too-pat world of "blue sky" TV into something edgier is a welcome diversion.
  92. The Bridge is mandatory viewing for drama lovers, but it will be interesting to see where the writers take it and whether they have the big-league ability to make the evident potential materialize. One thing they’ve hopefully learned is that sometimes holding back information isn’t mysterious, it’s just confusing.
  93. It doesn't start smoothly, but as we always say, comedies often require extra time to find their footing and with Plimpton, Ferguson and Galvin, the right pieces are in place and if the third and fourth episodes are an indication, The Real O'Neals may be heading in the right direction.
  94. The series works. McIver is a great, unlikely heroine.... The show will have to make the weekly cases a bit more difficult to crack if they want to hold viewers' interest.
  95. The vote here is to not only give Torchwood: Miracle Day a chance, but to ride out the bumpy parts and put some faith in Davies' unique take on storytelling.
  96. The questions on Geeks Who Drink are decidedly soft-ball.... [Host Zachary Levi's] upbeat attitude makes the show all the more amusing, as do some of his cheeky one-liners.

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