The Hollywood Reporter's Scores

For 1,004 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 Gilmore Girls: Season 1
Lowest review score: 0 Mixology: Season 1
Score distribution:
  1. Mixed: 0 out of 545
  2. Negative: 0 out of 545
545 tv reviews
  1. 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.
  2. 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.
  3. 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.
  4. 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.
  5. 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.
  6. 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.
  7. 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.
  8. 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.
  9. 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.
  10. 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.
  11. That's a lot of eccentricity, but creator/writer Noah Hawley meshes humor and pathos with deft plotting and dialogue.
  12. 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.
  13. 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).
  14. A goofy setup, to be sure, but an entertaining and lively one.
  15. A dependable source of entertaining fright.
  16. 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.
  17. For "Runway" fans thirsty for fashion fights and fits, Fashion is certainly worth a taste.
  18. Shakespeare might be turning in his grave, but he's probably got a smile on his face while doing it.
  19. Dark is an interesting idea with a refreshing lack of bombast and fakery that propels so many reality shows.
  20. What you get is a light fantasy with amusing moments that works in a couple of cutesy songs.
  21. 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.
    • 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.
  22. NCIS: L.A., like its parent, relies on a sturdy, mostly youthful cast, sporadic action, and sprightly dialogue.
  23. Although this Valley is too deep at times, there are enough elements to provide a fun, action-packed experience.
  24. Parenthood, like the experience itself, is an evolving tale, and one worth watching.
  25. 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.
  26. 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.
  27. 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.
  28. 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.
  29. 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.

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