The Hollywood Reporter's Scores

For 1,396 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 4 points lower than other critics. (0-100 point scale)
Average TV Show review score: 61
Highest review score: 100 The Last Man on Earth: Season 1
Lowest review score: 0 Do No Harm: Season 1
Score distribution:
  1. Mixed: 0 out of 746
  2. Negative: 0 out of 746
746 tv reviews
  1. Big on style but more challenged in terms of substance, Seeker demonstrates much production savvy but at the same time too little provocative/evocative interaction aside from the ultra-violent kind.
  2. This is sassy and superficial but also entertaining, and that's really all it aspires to be.
    • 67 Metascore
    • 60 Critic Score
    The pilot comes across top-heavy with exposition and flashbacks that lay out a dense backstory. While a rich mythology typically is mandatory for an espionage series to attract a cult following, it could prove a barrier to entry when piled too high at the beginning.
  3. Despite some fine performances, it fails to show a connection.
  4. Softer than soft porn, Call Girl is as much a documentary about high-end prostitution as it is about the conflicts and foibles of those who engage in it.
  5. If anything, "In Justice" tries too hard.
  6. It takes on an early thrilling ride, only to inexplicably start coasting when we need it to shift to the next gear.
    • 61 Metascore
    • 60 Critic Score
    Sherri is a slip of a comedy, an appetizer yearning to be the main course.
  7. "Drive" is at once exasperating and mesmerizing, utterly ridiculous if you read too much into it but utterly beguiling on its face.
  8. The first three episodes are good if a little erratic, but that's true of most sitcoms.
  9. All of the obvious self-awareness jokes are glaring and irritating. But here’s the hope: Both Cho and Gillan are very likable actors and even manage to nail what is asked of them in the pilot, playing Eliza and Henry.
  10. There’s enough hardened acting chops to make Chicago PD a watchable distraction in the Dick Wolf mode. Will it end up being something consistently good? It probably depends on your definition of good.
  11. Despite its overly talky nature, those interested in how productions get off of the ground will be fascinated by the details, which The Chair doesn't miss one moment of (including many, many phone calls and Skype conversations). Others may find it overly tedious and return only to view the final products.
    • 53 Metascore
    • 60 Critic Score
    Although they seem an unlikely couple, Cox and von Esmarch begin to grow on you, and they're both very personable. [5 Oct 2000]
    • The Hollywood Reporter
  12. The show benefits from a true insider's feel of the biz, and that helps spackle over the softer spots. Given half a chance, Deep should get along swimmingly.
  13. Instead of going in-depth with a few models, there's a carousel of names and familiar faces each awarded only a few soundbites, taken up mostly with biography, before the camera moves on.
  14. The Watsons are a fine family to spend two hours with (Wood Harris is a particular stand-out as the jovial father), but a story that instead reveals more personal acts of heroism might have elevated its impact just that much further.
  15. All in all, this isn't a half-bad political thriller. It just would have been better had it been about half as long.
  16. As is the case with nearly all sketch-comedy series, this one from "The Daily Show" alum Demetri Martin--and produced by Jon Stewart's Busboy Prods.--is very much hit-and-miss, with the misses outnumbering the hits in the first installment and the hits predominating in the second.
  17. There's some nice moments in the premiere and great camaraderie. But it's stock stuff and you would hope for some invention. [31 Dec 1997]
    • The Hollywood Reporter
  18. A well-intentioned drama with a few comedic quirks but without depth or greater purpose.
  19. As Henry’s world expands, and as it becomes clear that his myopic perspective doesn’t exclusively define the intertwining narrative, it’s easy to get drawn in. Davies is best at capturing the easy camaraderie that develops among friends and lovers.... He’s on less sure footing with some of the more drastic shifts in tone in each series.
  20. Davies is best at capturing the easy camaraderie that develops among friends and lovers.... He’s on less sure footing with some of the more drastic shifts in tone in each series.
  21. Capitalizing on Latifah, though, should be paramount, and the one thing that might make it stand out would be more segments dedicated to her discussing current issues, showcasing her personality.
  22. The creatures are essentially designed as bowling pins for our protagonists to knock over with a well-placed shot and a quip, and Keeslar and Morales’ interaction is nothing if not playful and lively. But you’re left not really knowing if you want to come return and spend a whole lot more time with this quarrelsome twosome.
  23. It's disappointing that this is a diverting curio rather than a deep plunge into the cold waters of obsession.
  24. There's more humiliation than comedy.
  25. While the collection doesn't necessarily bring anything new to the table in its quick portrayals, it does at times successfully ignite an emotional response (a trait that also makes it exhausting.)
  26. [It] gets high marks for capturing the spirit and idealism of the staff but only passing grades for storytelling.
  27. Anger Management is really just a slightly more content-dangerous network sitcom.

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