The Hollywood Reporter's Scores

For 1,522 reviews, this publication has graded:
  • 52% higher than the average critic
  • 3% same as the average critic
  • 45% lower than the average critic
On average, this publication grades 3.9 points lower than other critics. (0-100 point scale)
Average TV Show review score: 61
Highest review score: 100 Fargo: Season 2
Lowest review score: 0 Sons Of Hollywood: Season 1
Score distribution:
  1. Mixed: 0 out of 813
  2. Negative: 0 out of 813
813 tv reviews
  1. Arguably the best comedy this fall.
  2. 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.
  3. Agents of SHIELD always felt like a series that was missing a center (those superheroes), and it took a lot of episodes for the series to even find its own way and establish its own characters as at least semi-interesting substitutes to what you got at the movies. Gotham, on the other hand, arrives as its own entity, a wholly realized universe, in a separate time and place, with enough intriguing characters and a stylized visual presence that is immediately intriguing.
  4. Ultimately, Funniest Wins is full of the requisite second-hand embarrassment and awkwardness that's expected from any comedic competition series, but it also delivers some genuine chuckles.
  5. Spelling and Garth were and are [a real team]. Mystery Girls is silly, with broad humor, but the nostalgic appeal of these two broads being back together is no mystery.
  6. Showville is far more upbeat and encouraging than that series ["Small Town Security"], and its shift in location from week to week keeps things fresh.
  7. A little heavy on exposition.... "Burn" is at its best when Westen is outwitting and outracing bad guys.
  8. Ultimately, Go On is about a group with quirks and heart, stirred up by Perry, and the pilot is largely appealing until the final minutes, which are as broad as the 405.
  9. This is an old soul's Christmas special. This is also a Christmas special for grown-ups, both because of a scattering of adult language, but also because Coppola's trademark dreamy/languid treatment of the material would bore younger viewers.
  10. Sorrentino's taste for the grotesque at times gets out of hand, but generally serves him well in this comic approach to the hidebound traditions of the miniscule Papal state.
  11. Its pilot was a solid start, although, despite the intriguing premise, the episode also raised a greater number of questions--more about logic than the show's mythology--than it answered.
  12. At its best, the narration, delivered by Tom Selleck, is clear and unadorned, but it occasionally falls into purple patches of grandiloquence.... A heavy hand prevails in the music cues, too, which can be cutesy or  obvious. Such emphatic accompaniment, in music and prose, is unnecessary when the images are so potent.
  13. Good Behavior kicks off as maybe the best drama pilot TNT has produced since Southland, while Dockery's new direction as a bad girl is wonderfully realized--and a very welcome relief for anyone tired of the reserved Lady Mary. ... But more than anything, Good Behavior's pivotal fourth episode will need to address how Letty and Javier stay together and why--and it can't take place in a car with a fading battery. If there's a convincing way to keep these two connected, Good Behavior could really be something for TNT.
  14. The result is a family-friend mixture of competition series suspense and a genuine desire to see the kids succeed. Though there are a few eye roll-worthy moments from some ("I believe I have a very sophisticated palette," one boy says), others are delightfully able to keep up with Ramsay's quips.
  15. Mercy Street delivers on gross-out medicine, tentatively soapy romance and and even occasionally nuanced history lessons and keeps the giggle-inducing performances to a relatively minimum. Six episodes was probably a less-than-ideal count for Lisa Wolfinger and David Zabel's drama, but the run concludes at a place that should take the show interesting places in a hypothetically better arced second season.
  16. Punisher and Elektra make it hard for Matt and Daredevil to operate and both Bernthal and Yung spend a lot of the first half of the season upstaging Cox, who has to capture a struggle that's internal, while his scene partners are playing things that are very external. And the two new additions are so vivid that there's a challenge to remain wholly invested in plotlines that don't involve them, which is tough for Foggy and, in particular, Karen.... But Daredevil still has its brooding, punchy pieces in place for a promising second season.
  17. Part improbable comedy, part unrealistic drama, "Head Cases" is nonetheless a clever series that gets incredible mileage out of its two central characters.
  18. It's a march through epic battles, epic romance and epic intellectual discovery, but viewers are probably going to have to take that old Tolstoy off the shelf ito fully understand what's so epic about it. Onscreen, it remains a fine, fast-moving yarn, but you don't have to have read the book to nod sagely and say, "The book is better."
    • 65 Metascore
    • 70 Critic Score
    Although it can be a tad confusing in the early going, mainly because of some puzzling and violent images from who knows where, those who sit tight are well-rewarded by a stimulating and imaginative work of TV literature. [12 Sep 2003]
    • The Hollywood Reporter
  19. 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.
  20. If there is a chink to this series' armor, it is in the casting of Armstrong in the title role.
  21. Even with its eye-rolling plot and its McMusic, High School Musical 2, like the original, does well by doing good.
  22. Season two at least appears stronger than last year but this all comes with a caveat, which is pretty much everything before this sentence. That is, Newsroom is the show we’re getting from Sorkin even if it might not, for some of us, be quite the show we wanted.
  23. There isn't much that's not familiar. But Kelley usually targets his shows on characters and their character, which, as it turns out, enhances the emotional appeal in this new series of battles at the bar of justice. [4 Mar 1997]
    • The Hollywood Reporter
  24. Even if it lacks depth, Block's big-screen banquet of matrimonial testimonials is still a highly engaging proposition.
  25. Halperin and Heilemann, authors of the best-sellers Game Change and Double Down, certainly know their stuff, even if they inject themselves a little too enthusiastically into the proceedings. And the grizzled McKinnon, a veteran of five presidential campaigns, lends a knowledgeable insider's perspective.
  26. Distinctive, but not necessarily unique, Flowers feels like a mixture of Franny and Zooey and Harold and Maude by way of Roald Dahl (or a mixture of The Royal Tenenbaums and Arrested Development by way of Lemony Snicket, if you prefer your references more second-generation).
  27. In its scripted segments, the series is stylishly produced, and its wit is dry while its tone is bubbly. Not every segment is a hit, but the ones that are deserve to be quoted, repeated and discussed.
  28. There's nothing revolutionary in play, but the actors here are worth the investment, particularly Huberman, who is both magnetic and relatable, meshing nicely with Morrissey's usual high-bar work and the likability of Byrne.
  29. The fact is, these kinds of grand historical reimaginings can be a scrumptious combination of costume drama acting, soap opera theatrics and pay cable promiscuousness. That'll make the hours fly by. And it doesn't mean your pleasure needs to be all that guilty.

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