The Hollywood Reporter's Scores

For 1,259 reviews, this publication has graded:
  • 54% higher than the average critic
  • 4% same as the average critic
  • 42% lower than the average critic
On average, this publication grades 3.6 points lower than other critics. (0-100 point scale)
Average TV Show review score: 61
Highest review score: 100 Girls: Season 3
Lowest review score: 0 Unan1mous: Season 1
Score distribution:
  1. Mixed: 0 out of 671
  2. Negative: 0 out of 671
671 tv reviews
  1. Pilot episode aside, Ames doesn’t skimp on the inventively outlandish absurdity. But it’s the simmering, slowly bared pathos--the sense that these clownish people are constantly trying and failing to suppress something all-too-human about themselves--that distinguishes it from the cringe-comedy crop.
  2. A dependable source of entertaining fright.
  3. The Returned is putting aside the relatable and the primal in favor of something far more muddled. This changes the viewer's experience of The Returned and not always for the better.... Yet The Returned is hypnotic and otherworldly in a way that keeps it compelling.
  4. Bee greets viewers with a set of splashy colors, a house band, house singers and house dancers. It's all very hokey, but there's also something lively and real about it.
  5. 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.
  6. Rote but entertaining, Chicago Fire can't be ruled out as perhaps one of NBC's best chances for a hit.
  7. If you're not put off by some of those Sorkin traits--and honestly, they are ever-present--then The Newsroom might be a drama that hooks you with what it's ultimately trying to say about some complicated issues.
  8. If you like Brand, you'll love BrandX, but you might be left wanting.
  9. Houdini takes a big bite, and its journey is often fun and fantastical, but its goofy sensibilities would have benefited from a sturdier structure, and what it wants its audience to take away from its subject’s life story is unclear. That said, the miniseries nails the most important thing: spectacle.
  10. Leno himself? Comfortable and comforting, enthusiastic but not too much so, apparently ready to just get back to the job of making middle-of-the-road laughs.
  11. Allegiance is a broadcast network series that doesn't have the writing or the acting chops to compete with its FX counterpart. The series is, however, entertaining on its own merits.
  12. It can be pleasant -- even charming at times -- but not much more than that.
  13. You get the feeling that if this show is given enough time to find its strengths and understand its characters, it could be around for quite some time.
  14. Fear is pretty much like most of these genre-specific anthologies: wildly inconsistent, sometimes maddeningly so. But when it hits, it blasts the ball out of the park. When it doesn't, well, at least you have the pools of blood to keep you company.
  15. Despite a shaky start, The Quest actually becomes something interesting--or at least different--within the reality landscape.
  16. Big on style but more challenged in terms of substance, Seeker demonstrates much production savvy but at the same time too little provocative/evocative interaction aside from the ultra-violent kind.
  17. This is sassy and superficial but also entertaining, and that's really all it aspires to be.
    • 67 Metascore
    • 60 Critic Score
    The pilot comes across top-heavy with exposition and flashbacks that lay out a dense backstory. While a rich mythology typically is mandatory for an espionage series to attract a cult following, it could prove a barrier to entry when piled too high at the beginning.
  18. Despite some fine performances, it fails to show a connection.
  19. Softer than soft porn, Call Girl is as much a documentary about high-end prostitution as it is about the conflicts and foibles of those who engage in it.
  20. If anything, "In Justice" tries too hard.
  21. It takes on an early thrilling ride, only to inexplicably start coasting when we need it to shift to the next gear.
    • 61 Metascore
    • 60 Critic Score
    Sherri is a slip of a comedy, an appetizer yearning to be the main course.
  22. "Drive" is at once exasperating and mesmerizing, utterly ridiculous if you read too much into it but utterly beguiling on its face.
  23. All of the obvious self-awareness jokes are glaring and irritating. But here’s the hope: Both Cho and Gillan are very likable actors and even manage to nail what is asked of them in the pilot, playing Eliza and Henry.
  24. There’s enough hardened acting chops to make Chicago PD a watchable distraction in the Dick Wolf mode. Will it end up being something consistently good? It probably depends on your definition of good.
  25. Despite its overly talky nature, those interested in how productions get off of the ground will be fascinated by the details, which The Chair doesn't miss one moment of (including many, many phone calls and Skype conversations). Others may find it overly tedious and return only to view the final products.
    • 53 Metascore
    • 60 Critic Score
    Although they seem an unlikely couple, Cox and von Esmarch begin to grow on you, and they're both very personable. [5 Oct 2000]
    • The Hollywood Reporter
  26. The show benefits from a true insider's feel of the biz, and that helps spackle over the softer spots. Given half a chance, Deep should get along swimmingly.
  27. Instead of going in-depth with a few models, there's a carousel of names and familiar faces each awarded only a few soundbites, taken up mostly with biography, before the camera moves on.

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