The Hollywood Reporter's Scores

For 1,384 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 Brotherhood: Season 1
Lowest review score: 0 Dominion: Season 1
Score distribution:
  1. Mixed: 0 out of 735
  2. Negative: 0 out of 735
735 tv reviews
  1. There's a thriller aspect to it that dovetails nicely with the sassier elements. But the show never devolves into wanton erotica. And all I know is through each of the first four screened episodes, I couldn't wait to get to the next installment.
  2. As Aminata Diallo (Aunjanue Ellis) reminds herself and others repeatedly, one must never give up--and it’s this steadfast hope that makes the story a particularly compelling television event.
  3. The escapism is sky high. Valley remains as charismatic as ever, with McBride's disdainful asides and Haley's chilly creepiness intact. It would be unfortunate if Human Target somehow got soapy or dumber, because good popcorn is rare.
  4. Those who gravitate to this engaging show will be rewarded with the kind of substantial, thoughtful fare more often reserved for theater audiences. Plus, there are outstanding performances.
    • The Hollywood Reporter
  5. Pleasingly, Indian Summers never feels overstuffed, just exceedingly generous in the way it approaches the disparate people and situations portrayed.
  6. The 40-minute film covers the basics--the matriarchal social structure, the intense and lifelong emotional ties, the appalling history of abuse--with energy and clarity, making for a concise overview and a convincing call to action.
  7. It's all done so masterfully that by the third installment, Treme has the old-shoe feeling of a series that has been on for years, not weeks. Still, those first three episodes do move slowly, and if there's a sour note to be sounded it's that it takes awhile for the series to find its centerpoint.
  8. [The People v. O.J. Simpson: American Crime Story] often feels like an elaborate stunt, but still ekes out ample nuance, humanity and humor, despite a couple clunky performances that threaten to spin the series into the realm of camp.
  9. There's a corollary here to Louis CK and his FX series Louie, though Ansari and Master of None are not yet on that level.... What he's proving, with each episode of Master of None, is that he was the right choice for a fresh vision of a TV show.
  10. A superbly constructed and unpredictable tale of intrigue and mystery.
  11. These situations are, of course, the bare-bones means to a lot of mischievous and seemingly improvised ends, much of it very funny.
  12. The sheer blissful goofiness of [Poldark and Demelza's] burgeoning romance (with swelling music, furtive glances, and Harlequin romance novel compositions) encapsulates the pleasures of the series as a whole. This is trash done ecstatically well.
  13. Felicity lacks the quirkiness and the humor of "Ally McBeal." However, it has a warmth, a charm and a dramatic urgency that could, at least in part, justify the buzz. [28 Sept 1998]
    • The Hollywood Reporter
  14. B&T as live-action weekly television turns out to be a captivating way of riding the video waves. [30 Jun 1992]
    • The Hollywood Reporter
  15. The Borgias retains the intrigue and conniving family politics that made season one such a pleasure ride, but it all has more snap now, with Jordan spinning the plates with aplomb.
  16. It could be complicated, but Peters' tightly written teleplay makes it easy to follow. In addition, the pilot raises provocative issues without getting didactic. That, combined with mythology less dense than, say, ABC's Lost, should make this an attractive viewing option.
    • 45 Metascore
    • 80 Critic Score
    NBC is plunging headlong into an abyss of risk-reward with the single-camera, laugh-track-free Outsourced. It's still hard to believe that the network took the chance on it; the public should do the same.
  17. The film isn't trying to break ground with revelations, so what it comes down to is whether Game Change is a good movie, as opposed to a balanced documentary. For the most part, it is.
  18. The combined performances here are exceptional. That work is helpful in glossing over some of the character flaws.
  19. It's broad, but funny because it's broad--you get the tone immediately and go with it.
  20. For the current version of Homeland, action scenes rapidly intercut with political ruthlessness look to be exactly what the show needs to sustain its worthiness.
  21. Even if Underground isn't fun, the Misha Green and Joe Pokaski-created series is both exhilarating and entertaining, taking a history lesson and making it something more contemporary, taking a painful chapter in American life and infusing it with populist genres.
  22. At its heart, this American adaptation of a popular British series about a group of gay friends is dramatically rewarding, convincingly acted and smartly written. At times, though, it seems as if writers Ron Cowen and Daniel Lipman and director Russell Mulcahy do too much to keep viewers from reaching that heart. [1 Dec 2000]
    • The Hollywood Reporter
  23. The film doesn't aim to make us complicit in Kit's conflicted desires, or to make them its main subject; it just wants to show how this killer changed the lives of countless women he never met. The Night Stalker does that job ably while simultaneously exploring the man's biography, in interview/flashback sequences informed by Philip Carlo's biography.
  24. In season two, much of the same goofiness that killed you in season one is back.
  25. Director-writer Peter Berg understands completely, and he explores the psychology of team sport and the dynamics of personal tragedy with great sensitivity.
  26. It has the wit and bite that made the series a standout, but it has jettisoned much of the dramatic baggage that had begun to weigh the show down.
  27. The small-screen version is more than faithful to the delicious and heartwarming drama that was the main course of the low-budget 1997 hit. [27 Jun 2000]
    • The Hollywood Reporter
  28. Some of the character are so impressively conceived and fleshed out that they ignite the material. Brown’s work proves that Ridley’s material can be generationally spot-on and gender-specific.
  29. Well-cast and full of expensive-looking special effects, FlashForward should hook a respectable number of viewers with its combination of surprise and suspense.

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