The Hollywood Reporter's Scores

For 1,123 reviews, this publication has graded:
  • 56% higher than the average critic
  • 3% same as the average critic
  • 41% 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 Brotherhood: Season 1
Lowest review score: 0 Sons Of Hollywood: Season 1
Score distribution:
  1. Mixed: 0 out of 603
  2. Negative: 0 out of 603
603 tv reviews
  1. That's a lot of potential gothic soap, but fortunately Gates presents a surprisingly well-written, intriguing scenario with a head-swimmingly large ensemble cast.
  2. With its seaside setting and lighthearted fun, Clear History is a kind of pleasant, late-summer gazpacho, enjoyed to the sounds of Chicago and debates about whether there is a racial preference between black and white dwarves.
  3. My Own Worst Enemy holds our interest despite its utter preposterousness because if there is anything Slater knows how to do, it's present a believable head case.
  4. It does not--repeat, not--take a con to catch a con. That is by now a very tired television cliche and one that's embraced by Kings. But the series overcomes this crutch to become a mostly interesting diversion from going to work five days a week.
  5. Glory Daze is both unexpectedly funny, at times heartwarming and the sheen of nostalgia covers up a lot of stuff you might otherwise get picky about.
  6. Viewers should try to connect with Touch. There's something intriguing about it.
  7. There's a lot to be gained from Sonic Highways, but it probably won't appeal to those outside of hardcore music appreciation circles, or those who are out on Friday nights.
  8. Witches of East End doesn't overdo the mythology (like Sleepy Hollow) or make it all about the sex (like True Blood). Instead, it set up a complicated interpersonal world, a plausible (for this kind of show) backstory, and then populated the town with really good-looking people.
  9. Zero Hour has lots of twists and turns that could be worth following. It also has the DNA to be laughably bad.
  10. Despite some jitters, Conan looked comfortable in his new domain. He had nervous energy to spare, but then again he does most nights.
    • 81 Metascore
    • 70 Critic Score
    While little here will be new to viewers with memories of the original events, it is all rehashed lucidly and may well prove eye-opening to younger viewers.
  11. This is good fun -- not necessarily substantial, but fun nonetheless.
  12. It is a series that boasts more than a few terrific performances, and yet it is surprisingly mellow, nearly devoid of the kinds of dramatic moments that resonate after the final credits roll.
  13. She creates an appealing character despite all the preconceptions, many of which are acknowledged and dispensed with in the first few scenes.
  14. If the stories aren't entirely convincing, the actors are.
  15. Director/co-producer/co-writer Michael Sucsy gets their plight, and he's unflinching about exploiting it. But it's hard to say he exposes the heart of his characters; Little Edie's motivation remains a mystery.
  16. It's that very attraction--familiar characters acting with familiarity and only the slipperiest of soap schemes to throw them off course--that fuels this series. It's not particularly elite anymore, but it's incredibly efficient.
  17. Ultimately, Brooklyn DA is an intimate look at urban prosecutors that, even though it can feel a little too clean, certainly stands out among unscripted summer programming.
  18. Although the drama is sometimes over the top and not always palpable, the action is nonstop. For that, "Samurai" will more than please action-adventure fans.
    • 53 Metascore
    • 70 Critic Score
    The much-anticipated companion series is a well-paced, enjoyable romp, proving that the franchise has plenty of life and drama left. [16 Jul 2004]
    • The Hollywood Reporter
  19. For "Runway" fans thirsty for fashion fights and fits, Fashion is certainly worth a taste.
  20. It's not that Americans can't master the outlandish sketch comedy exemplified by Little Britain USA. It's just that, from Monty Python to Borat to Eddie Izzard, the British invariably do it so much better.
  21. Though there are millennia being covered, some may find the material oversimplified or oversanitized, but it's still an engaging and appealingly presented overview.
  22. While Eat: The Story of Food is educational, it can also be silly and glib.
  23. Like The Biggest Loser, Shedding for the Wedding is ultimately feel-good reality that also aims to make its contestants feel better.
    • 65 Metascore
    • 70 Critic Score
    What is clear, is that series stars Anthony Michael Hall and Nicole de Boer are fun to watch and that the powers of Hall's character, Johnny Smith, can give rise to any number of imaginative stories. [12 June 2002]
    • The Hollywood Reporter
  24. Dark is an interesting idea with a refreshing lack of bombast and fakery that propels so many reality shows.
  25. When the writers nail the truisms--Madrigal’s character says he hasn’t seen a movie since 2008, and when Andy and his wife, Laurie (Annie Mumolo), get a couple of free hours to ostensibly have sex, they choose instead to catch up on Homeland--the series really clicks.... Where About a Boy suffers is when the storytelling gets a little too saccharine in the Will-Marcus friendship.
  26. What you get is a light fantasy with amusing moments that works in a couple of cutesy songs.
  27. So it was a night where Williams and Walken, at disparate ends of the live performance, gave a lot to their roles and to the success of the night. It wasn't flawless (and if you factor in the moments when Walken seemed to be particularly awash in the lights, maybe you'll be crueler about the overall quality), but it was entertaining enough for three hours of live song and dance.
    • 63 Metascore
    • 70 Critic Score
    It's definitely worth sampling, but impatient viewers might not return to the scene of the crimes.
  28. While it’s clear that Vikings isn’t going to be Game of Thrones, it’s a series that increases its entertainment value and interest level as it goes along.
  29. Mostly Against the Wall is a pleasant surprise, with Carpani being a much bigger surprise.
  30. Holds its own against the 1956 classic.
  31. It's a Western miniseries with impeccable pedigree, memorable characters, breathtaking cinematography and a story that seems almost as if it had been put together by a committee.
  32. British reviewers pegged Hotel Babylon correctly when they called it flashy, trashy, cheeky, frothy and "like a perfectly executed souffle."
  33. While "Bones" has too much "X-Files" and "CSI" going in the pilot to feel completely original, it's nonetheless a taut, well-constructed, character-rich procedural with genuine potential.
    • 49 Metascore
    • 70 Critic Score
    Combine the legions of figure skating fans with those who were swept off their feet by "Dancing With the Stars," and all signs point to a breakout hit.
  34. There is very little urgency in the storytelling--layers of voiceover bits don't help, even--and therefore Outlander can hardly be described as compelling. In many ways, this is a story well and thoroughly told but with almost none of the smart pacing of similarly dense fictions like Game of Thrones. And yet the world created in Outlander is not without interest.
  35. Yes, audiences should beware not to let their eyes roll too far back in their heads at the fantasy concept of a) swapping scholarships midsemester and b) a protagonist who wows everyone in sight (known as the "Mary Sue" character in fan fiction parlance). But once the concept is firmly established, Hellcats makes a graceful backflip, with multilayered characters that defy expectations.
  36. Empire is a big swing for Fox, and there are a number of question marks and stumbling blocks within it, but ultimately its entertainment level transcends the worries.
  37. The pilot is full of dark, dangerous and sexy moments.
  38. That Conley is a 300-plus-pound guy comfortable in his own skin helps, as does his genuine affection for the larger ladies. And all of that makes this otherwise-routine Fleiss confection a notch or two more interesting.
  39. Secret Princes has wisely combined a bevy of familiar tropes (fish out of water, searching for love, strangers living together, a secret twist) and gathered together a likable cast that should keep even the most skeptical viewers tuned in to see how the lords and princes fare in their winsome quest for love.
  40. Crossfire Hurricane is business as usual from the Stones, and good fun on its own terms. However, anyone expecting buried treasure or fresh insights into ancient rock folklore will get no satisfaction here.
  41. Even at a commercial-free 30 minutes, Last Week Tonight felt rushed and jam-packed with information, heightened by Oliver's tendency to get excited and/or yell. Those are all good traits (and, historically, pretty funny traits of his), but the entire concept might work better at an hour so he could at least breathe.
  42. If, like most sitcoms, Mindy still is in a growth phase, it's clear the writing and acting are there to be developed.
  43. Fish-eye lenses and rotating cameras don't feel at home here as in other installments, and things aren't creepy so much as grotesque. Still, there are a number of decent effects and a healthy dose of humor that keep things moving along in an entertaining way. Eventually, the many stories find their way together, which helps propel the premiere to its promising finish.
  44. It takes itself seriously pretty much not at all, which is precisely what we want at 10 p.m. on a summer Friday.
  45. The premiere teleplay from Christian Taylor does a capable, if slightly workmanlike, job of setting the stage for what's to follow, while Coster-Waldau paints a beguiling portrait of a brooding, conflicted, undeniably charismatic soul.
  46. A lot worked from this first show. The set looks great, and legendary house band the Roots were, as usual, flawless. When U2 asked them, impromptu, to join in their acoustic jam from the couch, they didn't miss a beat, and the up-tempo atmosphere told the audience one clear thing: Hey, this is fun. You might want to come back and check it out again.
  47. The Fox drama from the Imagine TV stable is fortunate to have a guy with the talents of Tim Roth as a trump card. But even apart from him, the writing and the concept are sufficiently developed from the get-go to prove an instantly intriguing entry that has the major benefit of following "American Idol" and should hold on to a good portion of that audience.
  48. You have a series that cobbles together a pretty strong rooting interest.
  49. Back In the Game doesn't really scream long-term storytelling beyond the family dynamic, which is precisely why it's wedged between The Middle and Modern Family on ABC. ... But this is a series that would seem to need, at minimum, four episodes before the audience could begin to get a real feel for it. Even smushed between two high-caliber comedies, there might not be enough lift to let all the charms of Back in the Game play out.
  50. Parenthood, like the experience itself, is an evolving tale, and one worth watching.
  51. The Writers' Room is a fun look at the mostly unknown faces who have created some of the best shows on TV, though The Writers' Room might not have been wrong to expand the format and really delve deep into the nuances of the creative process of the specifics of certain shows, even at the risk of alienating viewers who weren't intense fans.
  52. When the jokes are hit and miss, McGinley and Scovel can easily salvage them. While the chemistry between Astin and Heelan isn't really palpable, both characters grow on you after a couple of episodes and everybody else in the cast also manages to elevate the material whenever it falters.
  53. It’s an unbecoming undercurrent [the film frequently sentimentalizes cancer patients' experiences] in an otherwise absorbing nonfiction narrative, and it leaves a bitter aftertaste.
  54. While The Last Ship won't be for viewers who want a lot of complexity and good writing, its predictability--ka-boom!--is not exactly a detriment in the summer. In fact, it might be the selling point.
  55. 24: Live Another Day can and should only be judged on one metric--is it entertaining. And that, happily, is a real no brainer. Of course it’s entertaining.
  56. Arguably the best comedy this fall.
  57. The single-camera Somebodies concept is gentle and easygoing and character-driven, which potentially makes it a pleasant, earnest little outpost, if not necessarily anything that's going to push primetime in bold new directions.
  58. Agents of SHIELD always felt like a series that was missing a center (those superheroes), and it took a lot of episodes for the series to even find its own way and establish its own characters as at least semi-interesting substitutes to what you got at the movies. Gotham, on the other hand, arrives as its own entity, a wholly realized universe, in a separate time and place, with enough intriguing characters and a stylized visual presence that is immediately intriguing.
  59. Ultimately, Funniest Wins is full of the requisite second-hand embarrassment and awkwardness that's expected from any comedic competition series, but it also delivers some genuine chuckles.
  60. Spelling and Garth were and are [a real team]. Mystery Girls is silly, with broad humor, but the nostalgic appeal of these two broads being back together is no mystery.
  61. Showville is far more upbeat and encouraging than that series ["Small Town Security"], and its shift in location from week to week keeps things fresh.
  62. A little heavy on exposition.... "Burn" is at its best when Westen is outwitting and outracing bad guys.
  63. Ultimately, Go On is about a group with quirks and heart, stirred up by Perry, and the pilot is largely appealing until the final minutes, which are as broad as the 405.
  64. Its pilot was a solid start, although, despite the intriguing premise, the episode also raised a greater number of questions--more about logic than the show's mythology--than it answered.
  65. At its best, the narration, delivered by Tom Selleck, is clear and unadorned, but it occasionally falls into purple patches of grandiloquence.... A heavy hand prevails in the music cues, too, which can be cutesy or  obvious. Such emphatic accompaniment, in music and prose, is unnecessary when the images are so potent.
  66. The result is a family-friend mixture of competition series suspense and a genuine desire to see the kids succeed. Though there are a few eye roll-worthy moments from some ("I believe I have a very sophisticated palette," one boy says), others are delightfully able to keep up with Ramsay's quips.
  67. Part improbable comedy, part unrealistic drama, "Head Cases" is nonetheless a clever series that gets incredible mileage out of its two central characters.
    • 65 Metascore
    • 70 Critic Score
    Although it can be a tad confusing in the early going, mainly because of some puzzling and violent images from who knows where, those who sit tight are well-rewarded by a stimulating and imaginative work of TV literature. [12 Sep 2003]
    • The Hollywood Reporter
  68. Julianna Margulies--also listed as a producer--is convincing as a lawyer whose only true solace is her work. Still, she lives under a black cloud that threatens to burst at any moment and overwhelm the show.
  69. If there is a chink to this series' armor, it is in the casting of Armstrong in the title role.
  70. Even with its eye-rolling plot and its McMusic, High School Musical 2, like the original, does well by doing good.
  71. Season two at least appears stronger than last year but this all comes with a caveat, which is pretty much everything before this sentence. That is, Newsroom is the show we’re getting from Sorkin even if it might not, for some of us, be quite the show we wanted.
  72. There isn't much that's not familiar. But Kelley usually targets his shows on characters and their character, which, as it turns out, enhances the emotional appeal in this new series of battles at the bar of justice. [4 Mar 1997]
    • The Hollywood Reporter
  73. Even if it lacks depth, Block's big-screen banquet of matrimonial testimonials is still a highly engaging proposition.
  74. In its scripted segments, the series is stylishly produced, and its wit is dry while its tone is bubbly. Not every segment is a hit, but the ones that are deserve to be quoted, repeated and discussed.
  75. The fact is, these kinds of grand historical reimaginings can be a scrumptious combination of costume drama acting, soap opera theatrics and pay cable promiscuousness. That'll make the hours fly by. And it doesn't mean your pleasure needs to be all that guilty.
  76. On the Menu is essentially a fun and fast-paced hour of mouth-watering creations that, for once, can actually be consumed by the public at large.
  77. The comedy is at its best when Babylon behaves like a real melodrama--with tropes taken to exaggerated extremes — rather than relying too much on the visual gags of a bygone era.
  78. Here we have another of those twisted, hit-and-miss, 10 o'clock-hour romps from Comedy Central that travel boldly and unapologetically over the top.
  79. Ultimately, even with so many competition shows on the air that have done almost every formula there can be, The Hero finds a way to make things feel fresh and interesting, with Johnson as a great anchor.
  80. A surprisingly refreshing romantic dramedy full of appealing characters.
  81. Lizzie Borden Took An Ax: Christina Ricci gave some whacks; and when it all was said and done, it was in fact quite creepy fun.
  82. Greek is much more than artful manipulation of marketing strategy. The premiere has several surprises even as it dares you to pigeonhole any of these characters. The talented young ensemble cast works hard to sell the stories and mostly succeeds.
  83. It seems like a missed opportunity to dig deeper into Knight’s aesthetic and emotional turmoil. Despite the doc’s overall sketchy nature, however, this remains an enjoyably affectionate tribute.
  84. It's thin fantasy material that often stumbles over the line of cute, but it's snappy and cleverly fresh. [8 Sep 1997]
    • The Hollywood Reporter
  85. Low Winter Sun makes you want to watch for the potential, but a little more sun (or dark humor) to offset the This Is Serious tone would go a long way in encouraging that potential to be realized.
  86. The producers do a nice job of developing characters and delineating the conflict. It's so good that, with only a few tweaks here and a little better dialogue there, it could rival "The Office" as a faux documentary.
  87. Early on, there's enough intrigue and style in Magic City to keep the viewer wanting more, but it's not as fully realized from the get-go as shows like Mad Men, Game of Thrones and Breaking Bad.
  88. Fiennes gives Camelot some feistiness and playfulness, and the whole affair is boosted by the fiery Green, a bit part by James Purefoy, plus strong performances in the supporting cast (and yet more wonderful costumes by Joan Bergin, who worked her Emmy-winning magic on Tudors).
  89. A dependable source of entertaining fright.
  90. Bee greets viewers with a set of splashy colors, a house band, house singers and house dancers. It's all very hokey, but there's also something lively and real about it.
  91. The show is a series of rapid-fire everything: gunfights, car chases and witticisms. The device of jumping backward and forward in time provides a jarring sense of raucous suspense while also keeping things light, and there's no lack of tossed-off lines and information handed out like candy.
  92. Rote but entertaining, Chicago Fire can't be ruled out as perhaps one of NBC's best chances for a hit.
  93. If you're not put off by some of those Sorkin traits--and honestly, they are ever-present--then The Newsroom might be a drama that hooks you with what it's ultimately trying to say about some complicated issues.
  94. If you like Brand, you'll love BrandX, but you might be left wanting.

Top Trailers