The Hollywood Reporter's Scores

For 980 reviews, this publication has graded:
  • 57% higher than the average critic
  • 3% same as the average critic
  • 40% lower than the average critic
On average, this publication grades 3.3 points lower than other critics. (0-100 point scale)
Average TV Show review score: 61
Highest review score: 100 Fargo: Season 1
Lowest review score: 0 Emily Owens, M.D.: Season 1
Score distribution:
  1. Mixed: 0 out of 531
  2. Negative: 0 out of 531
531 tv reviews
  1. It takes what's great about the WTF podcast--Maron's smarts, his profound love of and understanding of comedy and the people who perform it--and adds a scripted, fictional element where Sally Kellerman can play his mother and Judd Hirsch can play his father and a bevy of real-life comics and friends can stop by to mingle the two worlds and it all works out marvelously and hilariously.
  2. The actors, including the charismatic William Petersen and the exquisite Marg Helgenberger, lend credibility to the portrayals that might be indistinct in lesser hands. There's also a compelling, pulsating edge at the outset of CSI that commands instant attention, thanks in part to dynamic work from director Danny Cannon. [5 Oct 2000]
  3. This kind of limited series is a step in the right direction. And it sure helps that the first hour is intriguing as hell and filled with a lot of storytelling promise. If viewers catch the pilot, they’ll be back for the next episode. Some critics, too.
  4. Bette is full of good-natured mischief and proves a surprisingly easy fit for Midler. The weaknesses are obvious enough: a need to ease up on the fat jokes and the broad physical farce that's a little too obvious. But the screen loves Midler, which is never more apparent than during a scene that finds her turning a Kid Rock rap-rock tune into a jazzy swing number. You can't write that into a script; it's pure magic. [11 Oct 2000]
    • 79 Metascore
    • 80 Critic Score
    Exec producer James Hayman understands the importance of understatement, portraying God with a light touch but a solemn purpose. Equally important, he smoothly shifts the story's tone, going from dark and menacing to wryly skeptical, as the story dictates. [26 Sept 2003]
  5. Naked and Afraid has a forthright feel to it that borders on a psychological and physical study, even though participants remain with a production crew, unlike the grueling series Survivorman, which featured just one man with a camera.
  6. Not the real thing but a contrived setup that, nonetheless, radiates a mesmerizing draw that keeps you watching. [24 Jun 1993]
  7. Comedy Central has been able to take a can’t-miss idea and move it from short online sketches to a series of sketches that fill a half hour of television with a unified theme and increased production value, while bringing the brilliant idea to a wider audience.
  8. The nicely cast ensemble is formidable, but the driving power is the wit and freshness of the writing. It snaps, crackles and pops. [4 Mar 1997]
  9. Heroes of Cosplay is a worthy journey into a world few may be familiar with.
  10. It’s fun, it’s entertaining, it’s got some scares and some action and plenty of secrets to unveil.
  11. It's broad, but funny because it's broad--you get the tone immediately and go with it.
  12. It’s a pretty great first hour and if they can keep up the suspense before changing direction, it might be a feat worth watching every week.
  13. It was comforting to see that Masters of Sex has depth of vision and plenty of dramatic material to delve into without taking the easy way out with a nipple and a romp every 10 minutes.
  14. One of the new offerings that stands out from the pack is ABC's coming-of-age series, The Goldbergs, which is fueled partly by nostalgia, partly by the great Jeff Garlin's constant yelling and partly out of some outstanding writing. A strong cast doesn't hurt, either.
  15. If the first two episodes are any indication, not only is the series not missing a beat, it's actually growing into itself to allow new storytelling possibilitie
  16. After going from the humble creation of Superman to the filmic juggernauts like Avengers, those with a growing interest in the world of comics should leave satisfied with their new knowledge, while veteran fans will likely be drawn in by a strong sense of nostalgia, particularly given the ample amount of archival footage.
  17. Luckily, nobody overdoes the modernity angle in their acting and so Almost Human feels grounded -- dark, dirty and lived-in, almost like Blade Runner.
  18. In tone, Alpha House tacks much more closely to Veep but it shares certain elements with House of Cards as well, most notably the superb camerawork and smart writing.
  19. The Challenger Disaster adeptly uses its story time by leaning on Hurt to at once capture Feynman’s brilliance and captivating personality while also showing that Feynman’s own sense of compressed mortality and his adherence to scientific truth helped stop what could have been a whitewash.
    • 77 Metascore
    • 80 Critic Score
    There’s a breezy propulsion to An Adventure in Space and Time--written by Sherlock's Mark Gatiss, a member of the Steven Moffat mafia--as it charts the evolution of Doctor Who and the invention of so many things beloved by Whovians the world over.... But it’s David Bradley who gives this telefilm its heart.
  20. Though the character-driven docu-series format the show takes on may look run of the mill, beyond its surface appearance Generation Cryo is genuinely engaging.
  21. To longtime fans, much of this material and many of the anecdotes will be familiar. But folded together in this wide-ranging assembly they make for an emotional appreciation of a singular artist.
  22. Created by Kevin Biegel, Enlisted comes out of the gates almost fully formed.
  23. The first two hours go at a brisk, thrilling pace that allows for character development as well. A lot happens and there's a desire for more.
  24. There's a nice balance of humor (Groff in particular gets to milk the comedy) and emotional drama coursing through it (like Girls, which makes a fine pair for it on Sundays).
  25. Over the course of six hours it delivers bold, cinematic on-location action, announces itself with sweeping, dramatic dialogue (admittedly, not for everyone) and scatters excellent acting across the small screen.
  26. Directed with aplomb by Mat Whitecross, who periodically decides, in the course of this four-hour feast, to stop making a movie about a man and instead make a Bond movie, Fleming is the kind of movie that winks at you constantly and you never get annoyed by the intimations.
  27. House of Cards is pretty much the same show it settled into less than midway through its first run. It's entertaining and cruises along with a strong pulse.
  28. 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]

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