The Hollywood Reporter's Scores

For 1,602 reviews, this publication has graded:
  • 52% higher than the average critic
  • 4% same as the average critic
  • 44% lower than the average critic
On average, this publication grades 4 points lower than other critics. (0-100 point scale)
Average TV Show review score: 62
Highest review score: 100 Game of Thrones: Season 2
Lowest review score: 0 Do No Harm: Season 1
Score distribution:
  1. Mixed: 0 out of 854
  2. Negative: 0 out of 854
854 tv reviews
  1. NCIS: L.A., like its parent, relies on a sturdy, mostly youthful cast, sporadic action, and sprightly dialogue.
  2. Although it's plagued with structural problems and a questionable relationship to the passage of time, Gilmore Girls: A Year in the Life is better than the season that fans were previously stuck with.
  3. 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.
  4. 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.
  5. A sassy piece of voyeuristic candy that explores the Russian immigrant community of Brighton Beach, N.Y.
  6. 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.
  7. 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.
  8. 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.
  9. 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.
  10. There's no shortage of laughs.
  11. The new show dovetails nicely with its lead-in to present a solid hour of skewered news and punctured pomposity.
  12. 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?
  13. 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
  14. 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.
  15. Despite coming out of the gates slower than is ideal in a crowded landscape, the series shows signs in the early going of blossoming into something much bigger and better. Before committing, however, you should be all in on Hardy. If not, look elsewhere, because this is absolutely his show.
  16. There are a lot of series mining this style so it's not like Savage has done anything wrong by jumping into the fray, but I'm Sorry will need to find its own unique variation soon enough. But early on the show feels like it's already in rhythm, which is a nice surprise.
    • 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
  17. 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.
  18. It is at times charming and different, and a good fit for Lifetime. It just falls short of a higher calling.
  19. 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.
  20. This is a warmhearted dramedy, which gushes charm and family appeal.
  21. 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.
  22. 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.
  23. Other parts of Incorporated are less interesting but at least the story is trying hard, and every time it misses a beat (bloody cage fighting on overdrive out in the Red Zone) it does something cool like dream up a service where you pay someone on a loud dirt bike to drive you up 18 flights of stairs in a sketchy Red Zone apartment.
  24. 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.
  25. The latest iteration of the genre of celebrity re-introduction--and one of its more amusing--is CBS' new show Same Name.
  26. 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.
  27. 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.
  28. What emerges is a drama that is solid, though not spectacular, and a star more charismatic than complicated. [24 Sept 2001]
    • The Hollywood Reporter
  29. 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.
  30. Loaded moves along quickly and even when the subject matter gets dark, it doesn't hit very hard. Don't expect too much hilarity, but there are some smiles of recognition, some solid performances and a little bit of currency (both topical and financial), making Loaded one of the better examples of a not-particularly-great genre.
  31. 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.
  32. 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.
  33. 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).
  34. 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.
  35. 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.
  36. 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.
  37. 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.
  38. It jolts along with humor, suspense, insight and a fair amount of oozing blood.
  39. 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.
  40. 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.
  41. 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.
  42. 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.
  43. 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.
  44. 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.
  45. 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
  46. "Against the Grain" is kitsch masquerading as rugged regional realism and is, surprisingly, involving on both counts. [29 Sep 1993]
    • The Hollywood Reporter
  47. Engrossing, but probably not as captivating as what's taking place to get the show to air. .... Leah Remini: Scientology and the Aftermath will stir up some viewer emotions, but it's not a dynamic series, even with the added footage of Remini and Rinder in transit between interviews. It's a lot of sitting around talking, interspersed with footage from fairly innocuous Scientology promotional videos and event interviews.
  48. 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.
  49. 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).
  50. 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.
  51. It's quip-heavy, doesn't complicate things with too much plot, keeps the pacing brisk and litters the TV screen with beautiful people.
  52. That's a lot of eccentricity, but creator/writer Noah Hawley meshes humor and pathos with deft plotting and dialogue.
  53. 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.
  54. Martini was a solid pick. ... As for the stories inside Prime Suspect: Tennison, they hold up because they are gruesomely complicated (the murder of a 17-year-old girl that hardens Tennison) and ambitious (mob shenanigans in the B-storyline that also serve to slowly hone Tennison's deductive skills, which are innately there when we meet her). As a standalone series, this might be a letdown, but as the beginning of a separate journey and an ongoing exploration, it's full of promise.
  55. It's heavily serialized and yet the hours are pleasantly episodic, bridged by cliffhangers. It feels like a TV series, which isn't always how the show felt last year. Preacher also feels visually smoother.
  56. It's action escapism, not homework, and with Hawkins as a sturdy lead and a string of chases, gunfights and a couple of decent stunts, 24: Legacy mostly does its job.
  57. 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.
  58. 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.
  59. 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.
  60. 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.
  61. 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.
  62. Working together, Goldblum and Craven create some of the most honest scenes in the genre.
  63. The show succeeds on a number of levels and builds on a well-crafted premise pilot.
  64. For now, just as a jovial actor inhabiting an unexpected part, Baldwin is fun to watch and it's good to see him carrying over Rayburn's love for in-character clue readings, in this case a dismal-but-terrific Mick Jagger impression.
  65. A goofy setup, to be sure, but an entertaining and lively one.
  66. Yes, it has its silly and trivial moments, such as the footage of the women's helicopter ride over the Grand Canyon that at least showcases some beautiful scenery. But at its best, I Am Cait tackles tricky subject matter with an admirable complexity that may ironically be the reason for its modest ratings.
  67. The writing is sharp enough to create nearly as many solid laughs as there are producers. [21 Aug 1998]
    • The Hollywood Reporter
  68. Strahan's fine, but in this case the show is the star. ... Pyramid works, and as long as Strahan doesn't get in the way, it will continue to work.
  69. Hall... is brilliant at conveying the subtle complexity of Dexter.
  70. Does that make sense? If not, well, Revolution doesn't make a lot of sense, but it's a lot of fun.
  71. It's a showcase for Ullman's remarkable skill, but it is done too fast for the comedy to percolate. We barely have time to figure out who the character is before there's another one. And another. Things are better in succeeding episodes.
  72. Prior to the ludicrous escape, the pilot had done an admirable job keeping up the pacing, the interest and certainly the excitement level. That alone should get you to watch the second episode.
  73. The smoother storylines of the earlier episodes and an ensemble with no sore thumb pieces kept me watching through the rough sections and left me with hope that even though TV's need for another show about comedians is nonexistent, I'm Dying Up Here might continue with an approach that's different enough and expansive enough to be worthwhile.
  74. It's occasionally a bit disappointing that with five hours to tell their coming-of-age tale, creators Joe Gangemi and Gregory Jacobs still have trouble servicing all of their characters and justifying their very conventional arc. But the affection for the genre and for the period still carry the day.
  75. Bolstered by a stacked roster of very capable British actors, Simm, Glenister and Cavaliero go a long way toward helping you not worry about wasting your time. Whatever pitfalls might pop up in the writing, the performances are racing forward full-steam.
  76. But long-term? Seems like fans might grow frustrated if that’s the central theme. If Billy and Billie become "regular" relationship partners, the premise will need to expand. In the meantime, LaBute, Brody and Joyce have given us enough reason to keep watching.
  77. If you can ignore for a moment a logical flaw that permeates the series, you'll find an absorbing, well-paced legal drama with both heart and attitude, not to mention cinematography good enough to carry the Jerry Bruckheimer imprimatur.
  78. Ramsay naturally creates drama wherever he goes, and despite a few forced scenarios, the fly-on-the-wall editing smoothly and engagingly creates narratives amid the chaos.
  79. All series need time to discover their strengths and weaknesses, and this is no exception. However, this show starts with a foundation of solid character comedy, which bodes well for the future.
  80. The first few episodes don't always click (strangely, the Tami story line doesn't feel real), but even when the storytelling hits a rough patch, there's enough raw emotion and drama--on and off the field--that hits the right note, saving the hour.
  81. If you’re up for something completely different that may end up imploding just as easily as it could be riveting, then make the commitment. Wayward Pines is filled with enough guest stars and gear shifts to never stay in the same place and thus remain interesting, though not always logical or satisfying.
  82. Preacher comes on aggressively, but the third and fourth episodes give Catlin and the writers the chance to explore some of bigger picture theological issues and hint at growing maturity, even if that maturity still comes with gruesome jokes and pop culture references galore. Even in its unsteadiest early moments, Preacher parlays its messiness into an anarchy that's thematically on-point.
  83. Shakespeare might be turning in his grave, but he's probably got a smile on his face while doing it.
  84. It’s hard to determine how much of the series is lightly scripted.... It almost doesn’t matter, since Job or No Job offers compelling, believable drama as McBay searches for and awaits job offers and provides those just getting out of school and beyond with some great counsel on looking for a job.
  85. The thematic through-line is there, but could have benefited from more focused exploration. Still, there's something to be said for letting the photographers tell their own unvarnished stories, which makes this intermittently powerful series a valuable addition to studies of war journalism.
  86. The high exertion of getting mirth and metaphor from the morbid often leaves Fresco's cleverer dialogue buried and forces the stars to play the same strained beats over and over. But like zombies themselves, the show is relentless, and by the end of 10 episodes, there was progress towards a happy creative marriage.
  87. There’s plenty of testosterone running through The Last Kingdom’s veins, though there is a potentially strong female perspective courtesy of the character of Brida (Emily Cox).... The duo’s rapport nicely offsets the macho bluster that usually defines combat-infatuated shows of this sort.
    • 69 Metascore
    • 70 Critic Score
    If creator/writer Dan Harmon earns only a "C" for the framework of his show, he gets higher grades for its brisk pace and clever writing. And some extra credit is in order for casting, as well.
  88. There’s a lot of material to mine here and Goyer, Starz and Da Vinci’s Demons are off to an entertaining start.
  89. Although it will be hard to match "The O.C.'s" ratings, particularly against the blockbuster competition of the time period ("The Apprentice" and "CSI: Crime Scene Investigation"), the "Reunion" pilot offers a more intriguing and creative form of entertainment.
  90. For people looking for the next Housewives, GCB could be the perfect replacement.
  91. This collaborative atmosphere and casual framework may keep Wizard Wars from being the battle royal of Adventure Time's Wizard Battle, but it's still fun, as its performers manage to mutate the mundane into magic.
  92. Sound more than a little like FX's "Rescue Me"? Absolutely.
  93. It plays a little bit, in spirit, like the HBO series How to Make It In America. It is in that way that it feels both fresh and familiar--the scene is new, but the story is old. There's drama, but not as much trash.
  94. The Face borrows plenty of concepts from other modeling and competition shows, but it manages to throw enough fashion and dramatic interest at viewers to be engaging.
  95. With its superb cast, impeccable direction and mostly sharp writing, "Out of Practice" demonstrates simultaneously how polished and professional a sitcom can be and why TV comedy, with a few notable exceptions, is in such a funk.
    • The Hollywood Reporter
  96. There is a dynamic of affection and caring that makes the series more than just a collection of witty lines effectively delivered.
  97. With a strong cast (Lewis and Phillippe in particular), the buy-in here is easy. Whether it can reach the creative heights of, say, Broadchurch, which has a similar story, remains to be seen.

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