The Hollywood Reporter's Scores

For 1,057 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 3.4 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 Work It : Season 1
Score distribution:
  1. Mixed: 0 out of 567
  2. Negative: 0 out of 567
567 tv reviews
  1. A brave and breezy (though slightly uneven) series that is well-cast but not always well-plotted.
  2. For those who make the effort to stay tuned, the reward at the end of the first episode is meager. One hopes for bigger payoffs in subsequent outings.
  3. The harsh reality is that it will be lucky to get the time it needs to figure out how to become the show it was meant to be.
  4. The cinematography is stylish, and the action sequences compare favorably to those shot for larger screens. The acting is good, sometimes even inspired, and yet there is a big problem with the show. Put simply, most of these characters are distasteful and sometimes downright repulsive.
  5. This is not a terrible game.
  6. Although competently produced, the series about doctors who specialize in brain maladies lacks a dramatic spark. Characters aren't fully formed; stories aren't arresting. Sometimes it even seems like the show was created from the transplanted organs of other series.
  7. Intriguing but not entirely satisfying.
  8. Its two leads, the New Zealand music-comedy duo of Jemaine Clement and Bret McKenzie, are deadpan and clever but so cloyingly doofy that they're not only tough to root for but difficult to watch for extended periods as well.
  9. The characters connect mostly on a clinical level, rarely deeper.
  10. Kitchen Nightmares pushes all of the proper emotional buttons to draw we viewers in. But we're never for a moment able to suspend the notion that we, the audience, are being played.
  11. There is both everything going on and nothing going on simultaneously in this CW hour, but the series ultimately could click, depending on where things go from here.
  12. Samantha leaps from place to place as if its rapid pace could conceal the bumpy story line or at least suppress the observation that none of this makes much sense.
  13. To be sure, Flashpoint is a perfectly competent police procedural right down to its convincing weaponry and tactics. However, based on the pilot, it isn't particularly fresh or inventive.
  14. Too often, though, plots are contrived and coincidental (how many times can Kellerman defend clients against the same prosecutor, who just happens to be his girlfriend?) and lack the wonderful surprises that are trademarks of a Bochco production.
  15. Sutter packs the early episodes with colorful dialogue but at the same time so much random violence that it crosses the line to gratuitous.
  16. True Blood, with its constant profanity, gore and banal cruelty, will have a limited appeal. It might become appointment viewing for genre fans even as the rest of us steer clear of Bon Temps.
  17. Alas, the program has little direction and almost no flow.
  18. Creator/producer Shapiro and company do a commendable job establishing the formula early on. The problem is that the concept is by nature wholly repetitive.
  19. The pilot and second installment are fun but utterly implausible, and the chemistry between the leads is passable but mostly forced.
  20. While the premiere episode holds together well (Emily's son learns there's no Santa and shares that with his fellow kindergarteners, sparking a riot; Jane has a date; Rosemary fakes pregnancy), the follow-up episode--featuring a nanny strike, bad teeth and Jane getting locked out of her house--doesn't hold together.
  21. The balance is off, but there is still a sweetness to the show that makes it worth checking out.
    • 61 Metascore
    • 50 Critic Score
    The best bits of the series are those that let the characters deliver the punch lines, not become one, and there aren't quite enough to go around.
    • 42 Metascore
    • 50 Critic Score
    Listener is a serviceable supernatural drama with legitimate narrative potential that's undercut by its visually bland presentation and geographically nonspecific execution.
  22. Despite all this talent and potential, stereotypes about body image--fat and skinny--are layered on so thick that it's hard to see this show as changing anyone's minds.
  23. This is an utterly predictable comedy (what, you don't think Zack and Billie will fall in love in Season 2, right after he starts dating another chick and Billie has an epiphany?) that's got a few fun lines.
  24. This new effort from NBC is literally a chop off the old block.
  25. He's funny in a familiar, tasteful way; that blunt edge promised in some of his promos never cuts through too much.
  26. The show's main strength is the admirable comic acting ability of Kelsey Grammer and decent wordsmithing by sitcom veteran Tucker Cawley. But even with those assets, Hank comes across as familiar and formulaic--something you don't mind watching but wouldn't go out of your way to see.
  27. It can be funny at times, like when a draft pick becomes part of a negotiated plea bargain in a criminal case. And there's no denying the strong chemistry among the little-known cast. At other times, though the one-dimensional humor wears thin and the guys nearly become parodies of themselves.
  28. So, it's inoffensive stuff. You won't learn much, but you'll get a few laughs, and while we tend to expect a bit more depth out of Seinfeld, there's far worse out there.

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