The Hollywood Reporter's Scores

For 1,084 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 3.7 points lower than other critics. (0-100 point scale)
Average TV Show review score: 61
Highest review score: 100 Sherlock: Season 2
Lowest review score: 0 Emily Owens, M.D.: Season 1
Score distribution:
  1. Mixed: 0 out of 586
  2. Negative: 0 out of 586
586 tv reviews
  1. There are so many twists and arbitrary rules to the competition that it can certainly be disconcerting for viewers.
  2. The pilot is strong and closes with a cliffhanger element that should bring back a sizeable chunk of the tune-in audience.... but having no other episodes to find out in what direction the series wants to go--not just with Barry/Bassam, but where the core of its stories will come from (family or politics), means it’s too early to give a definitive endorsement to Tyrant, despite its potential.
  3. Wilde is a fast-paced grab bag; it's hard not to like a character who dunderheadedly imports an Amazon tribe to a five-star hotel rather than tell his dad not to drill on their land, all to prove he's a decent guy. But for now, audiences will have to sort through the good stuff and toss aside the lumps of coal that keep "Wilde" from being a truly wild ride.
  4. The real surprise is that, for all the times King has taken us down this creepy path, he can still evoke chills and thrills over and over again.
  5. The talented cast isn't quite as successful in getting past the shortcomings of a teleplay (from Rhimes, naturally) that's typically light on believability and heavy on the outrageous.
  6. Ironically, the differences among the characters that make the show interesting and even, at times, compelling, also test its credibility.
  7. Body of Proof doesn't break any new ground as a procedural and has more than enough hokey moments to make you look elsewhere. But as a case study of how and why star vehicles get made, this is textbook.
  8. The new series boasts eye-catching animation and dollops of sex and violence but only enough humor to elicit occasional chuckles. If you eliminate the references to sexual perversions, even the smiles are few and far between.
  9. Simultaneously sexy and relatable, Elfman wins us over with a convincing performance that shows vulnerability just beneath a placid surface.
  10. A terrific boon to those who can't wait a week between "Friday Night SmackDown!"
  11. The pilot is solid but 22 minutes with this kind of cast and concept barely leaves any room to decipher whether or not you want to spend one night a week with these people.
  12. The B-list panel... doesn't measure up to the likes of erudite and quick-witted Henry Morgan or Bill Cullen. But they enjoy themselves, and their fun can be contagious at times.
    • 58 Metascore
    • 60 Critic Score
    Brisk, sharp and surprisingly emotional for what essentially is a series of venture-capital-investment interviews, the show--based on the Japanese format "Dragons' Den"--balances the human element of its wish-fulfilling conceit with at least the illusion of the business legitimacy that made Burnett's "The Apprentice" such campy fun.
  13. Lilyhammer is an odd little series with potential.
  14. The sameness of the format detracted from the excitement inherent in any awards broadcast.
    • 67 Metascore
    • 60 Critic Score
    A second half that bogs down and suspect chemistry will deter some viewers from finding out what really happened at the end of Casanova's days.
  15. Doomsday Preppers could have been a grade-A hour of gawker television on par with the likes of Extreme Couponing and Hoarders. Unfortunately, the inclusion of an "expert assessment" of our protagonists' preparations lands the show on thin ethical ice.
  16. Town's premise remains an enigma at the end of its first episode; there are a lot of introductions to be made and not so much time for plot.
  17. Like many TLC series, a simple fascination with observing a perceived strangeness will pull in most viewers, but the pathos evoked by the struggling five refugees will likely keep people watching.
    • 65 Metascore
    • 60 Critic Score
    The fun part of this series is watching Doe become aware of his powers and limitations. Purcell supplies all the wonder and charm needed to turn Doe into a fascinating and curious character. [19 Sept 2002]
    • The Hollywood Reporter
  18. We don't get a great deal of character development, nor do we always get the truth, but with Coco, there is plenty to see and do.
  19. So far, sort of good: twists in the tale, the doink-doink sound, few if any establishing shots. But the series takes a truly unfortunate turn when it follows the villains around, giving away the whodunit and scattering the tension to the Santa Ana winds.
  20. His guests are fun enough, but we've seen them aplenty, and there's nothing much revealed that we don't already know.
  21. Her way lets viewers glimpse at parts of her personal life (her house, her parents) but carefully withholds other details.
  22. After one show, let's say he's a work in progress.
  23. As a 40-minute expansion on the first 10 minutes of the original film, the action can seem needlessly drawn out and played for time rather than for narrative sense. But the occasionally snappy dialogue, twisted humor and cinematic direction--which are all in Rodriguez's hallmark style--bode well for the rest of the series.
  24. Part of the hedging about Mr. Sunshine stems from her role. In the pilot, it's a wildly over-the-top portrayal that's simultaneously fun to witness but worrisome as to whether Janney can pull it off every week.
  25. You should at the very least check out Bello, who does fine work here.
  26. Its efforts at grainy, gritty realism (e.g. a quality visually tried for in occasional stop-go cuts) comes off more as MTV hip-hop style than storytelling with true inherent significance. [30 Sept 1996]
    • The Hollywood Reporter
  27. The show is a bold idea, and there's hope for the modern-world portions, but it doesn't quite know what it is (or maybe it does, but the audience won't).

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