The Hollywood Reporter's Scores

For 1,123 reviews, this publication has graded:
  • 56% higher than the average critic
  • 3% same as the average critic
  • 41% 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 Brotherhood: Season 1
Lowest review score: 0 Sons Of Hollywood: Season 1
Score distribution:
  1. Mixed: 0 out of 603
  2. Negative: 0 out of 603
603 tv reviews
  1. Although no half-hour TV series is going to capture the visual splendor and sophisticated sound of the big-screen experience, it's surprising how well this series reflects the style, attitude, ideals and spirit of the six "Star Wars" films.
  2. Viewers should try to connect with Touch. There's something intriguing about it.
    • 63 Metascore
    • 40 Critic Score
    Abrams and company, including Kodjoe and Mbatha-Raw, who possess chemistry but lack sufficient charm and delivery, must find some way to jump-start this misfire before it fades into obscurity, or before Abrams shifts his focus to the forthcoming mystery production "Super 8," which hints at a more intriguing fusion of "Lost" and "Cloverfield."
  3. Lilyhammer is an odd little series with potential.
  4. 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.
    • 63 Metascore
    • 90 Critic Score
    A dramatic series that is steamy, provocative and filled with smart dialogue and richly drawn characters, none of whom are entirely predictable. [15 Jan 2004]
    • The Hollywood Reporter
  5. House of Lies is giving him (and the rest of the actors) something fresh and different to devour, which makes it a show you need to consult with.
  6. Most of the other characters on Benched remain unformed, so early offerings seem middling and temper that hope--but hey, maybe you have better batteries.
  7. The 100 has a lot of interesting things to play with in terms of its narrative and world-building, but it chooses to gloss over them.
  8. Marry Me starts off annoying and unlikable and rarely dips from that, even though fans of Happy Endings will no doubt tune in for star Casey Wilson and for that show's creator, David Caspe, who also created this one.
    • 63 Metascore
    • 90 Critic Score
    In a new season largely bereft of innovative ideas or daring concepts, Firefly stands out like a supermodel at a bus stop... The end result is a new and different form for storytelling and characters with engaging stories to tell. [19 Sept 2002]
    • The Hollywood Reporter
  9. When the jokes are hit and miss, McGinley and Scovel can easily salvage them. While the chemistry between Astin and Heelan isn't really palpable, both characters grow on you after a couple of episodes and everybody else in the cast also manages to elevate the material whenever it falters.
  10. Crisis comes out of the chute as flat as any recent thriller on network television--actually more so. There’s barely an ounce of believability in it. The casting seems woeful and the acting isn’t going to get you to the second hour.
  11. 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.
  12. At its heart, this American adaptation of a popular British series about a group of gay friends is dramatically rewarding, convincingly acted and smartly written. At times, though, it seems as if writers Ron Cowen and Daniel Lipman and director Russell Mulcahy do too much to keep viewers from reaching that heart. [1 Dec 2000]
    • The Hollywood Reporter
  13. There's a nagging suspicion that Hell on Wheels, created by Tony and Joe Gayton, doesn't quite know what it wants to be, which may explain why after four hours it seems like a collection of ideas that haven't quite gelled.
  14. It could be argued that Fox has pulled off something even more remarkable with the debut of the less-than-thrillingly titled Traffic Light, a romantic comedy whose concept was imported from Israel: because it is both funny and remarkably realistic.
  15. Mob City is a big, bloody, flashy, violent and pulpy exercise that slowly builds into some solid entertainment and it’s a fine, identity-bending effort on the part of TNT.
  16. She creates an appealing character despite all the preconceptions, many of which are acknowledged and dispensed with in the first few scenes.
  17. Dallas is terrible....The writing is brutal and obvious, the acting is comical, and none of it is bettered by the directing.
  18. A surprising drama about ethics, aiming to be more than a mere montage of climaxing clients.
    • 63 Metascore
    • 70 Critic Score
    It's definitely worth sampling, but impatient viewers might not return to the scene of the crimes.
    • 63 Metascore
    • 30 Critic Score
    Ultimately, the series commits the greatest sin of the thriller genre: It's boring.
  19. What anchored Broadchurch was its harrowing sense of loss, how it played out with the parents and changed the small coastal town where a number of people had come to start new lives. Much of that is either missing or lost in translation.
  20. It's hard to tell whether Murphy and Falchuk are real fans of the horror genre or just set out to create something so creepy and freaky and off-the-charts weird that it would create massive buzz.
  21. There's not much payoff to the premise. Which is a real shame, because there's a good show here somewhere
  22. Here, the mix of schadenfreude and reductionism coming from the writers makes Mike & Molly cold and calculating, despite its likable leads and cast.
  23. The Presidents' Gatekeepers is an engaging watch for most, though some segments are more accessible and interesting than others, especially when the history and details of those others become dense and the names become unfamiliar for younger audiences.
  24. The series still can't get liftoff because it seems like a limp copy.
  25. This is one of the rare situation comedies that relies almost entirely on situations, each of which is more bizarre than the next and at the same time perfectly plausible. It's almost too good.
  26. Perhaps the worst offense by 666 is that it's not even an ounce scary.
  27. This show goes in for neither cheap gags nor easy stereotypes, crafting a thought-provoking narrative that embodies genuine sociological heft without transforming its subjects into buffoons.
  28. Town of the Living Dead feels far too planned when it comes to its cast of characters and knowing one-liners.
  29. The static nature of three talking heads (even in cartoon form) is dull, and the intermittent non-studio interstitials used to illustrate the discussion fail to provide enough of a change. Watching cartoon characters laugh at one another feels recursively silly, and not in a good way.
  30. Naked and Afraid has a forthright feel to it that borders on a psychological and physical study, even though participants remain with a production crew, unlike the grueling series Survivorman, which featured just one man with a camera.
  31. It can be pleasant -- even charming at times -- but not much more than that.
  32. A goofy setup, to be sure, but an entertaining and lively one.
  33. Greek is much more than artful manipulation of marketing strategy. The premiere has several surprises even as it dares you to pigeonhole any of these characters. The talented young ensemble cast works hard to sell the stories and mostly succeeds.
  34. An inspiring show all around, though perhaps not in the way Syfy wants it to be because the moment the credits roll, viewers will switch off the TV and start re-evaluating every single item in their basement.
  35. The result is a sometimes compelling, sometimes turgid program that feels equal parts emotional rescue and public relations coup.
  36. Around the fourth or fifth episode of Schitt’s Creek, the family’s behavior starts to become a smidge less predictable: David decides to sell his pricey wardrobe; Alexis finds herself attracted to a bearded environmentalist; Johnny and Moira display genuine affection for each other. These moments signal the small-town comedy just might have room to grow.
  37. Luckily, nobody overdoes the modernity angle in their acting and so Almost Human feels grounded -- dark, dirty and lived-in, almost like Blade Runner.
  38. Yes, it can often sound like a pulp setup bound to go sideways, but Banshee ends up being taut, entertaining and smart enough, and you won't completely turn your brain off.
  39. 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.
  40. If you can’t love the rake in Keegan, then you sure can’t love the lawyer in him either (since it’s barely developed in the pilot). That leaves Rake as an overly familiar character study and an under-developed law procedural.
  41. Matador isn't a comedy, but it has its moments of levity, which is smart--the show shouldn't take itself too seriously, and those very Rodriguez (who directed the pilot) touches of sudden jump cuts and cartoonish violence work perfectly with the overall aesthetic.
  42. There’s a lot of material to mine here and Goyer, Starz and Da Vinci’s Demons are off to an entertaining start.
  43. Everything about The Slap feels manipulated — you can smell the smoke off the puppet strings as the characters are jerked into being jerks. And that's just the pilot. The anvil drops more often and with more velocity in the second episode.
  44. Directed with aplomb by Mat Whitecross, who periodically decides, in the course of this four-hour feast, to stop making a movie about a man and instead make a Bond movie, Fleming is the kind of movie that winks at you constantly and you never get annoyed by the intimations.
  45. The perspective one gets from inside the House of Saddam is different than media reports from the outside and is, in itself, an important reason to tune in.
  46. How about less ghost, more Margo? That might help A Gifted Man become better than very average.
  47. No matter how you slice it, you won't find a quality cable series hiding inside.
  48. [It] gets high marks for capturing the spirit and idealism of the staff but only passing grades for storytelling.
  49. 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.
  50. Here it is, back for an eighth season of eight episodes, and the only reason to return to it is the culmination of storylines. Meaning, to come back to find out what happens to Vince and the boys (and their various girls). And that's really the problem.
    • 61 Metascore
    • 60 Critic Score
    Sherri is a slip of a comedy, an appetizer yearning to be the main course.
  51. It jolts along with humor, suspense, insight and a fair amount of oozing blood.
  52. A very un-Lifetime-like drama with sharp comedic overtones, one so well-constructed that dudes won't even feel the need to check their gender at the door.
  53. The show manages to be hugely entertaining and involving thanks mainly to the judges' personalities and the ability of the producers to spot emotionally charged stories when they see them. Sometimes these elements work together.
    • The Hollywood Reporter
  54. While Eat: The Story of Food is educational, it can also be silly and glib.
  55. The Ex List is one of those rare new season surprises that consistently charms straight out of the box, boasting a clever premise (borrowed from Israeli television) and a disarmingly appealing lead in Elizabeth Reaser (a recurring player on "Grey's Anatomy").
  56. There's a strong supporting cast, including Loretta Devine as Stone's no-nonsense secretary, but the big attraction is Miller's Stone and his transformation from heartless corporate lawyer to protector of the little guy.
  57. A well-intentioned drama with a few comedic quirks but without depth or greater purpose.
  58. Murphy is adept at creating clever mind games between his characters, but moments of true suspense or fright are few and far between.
  59. Despite the unfortunate monotone narration of Pulitzer Prize winner Mark Konkol, whose script is full of hard-boiled cliches ("must be something in the water," when speaking of Chicago's gangland past) and odd phrasing ("school closings and budget cuts: the ultimate buzzkill"), and time spent with Emanuel that is occasionally charming, but often feels like fodder for a campaign ad, Chicagoland has more pluses than minuses.
  60. "The Unit" is filled with thrilling action and heart-pounding adventure.
  61. His monologue was staccato and hit and miss--sounding more like his "Weekend Update" bits than a real monologue. And his first attempt at a recurring bit, "Venn Diagrams," was overly clinical and less than funny, despite some good material.... The back-to-back segments of Poehler and Biden offered an early hint that Meyers really can do interviews and that worries over that element of his arsenal are exaggerated.
  62. Funny, spooky and wonderfully entertaining. [7 Oct 1998]
    • The Hollywood Reporter
  63. What further elevates the half-hour is the deadpan, deer-in-the-headlights fashion in which his co-stars orbit around McBride, who seems instinctively to understand that being a delirious bastard means never having to say you're sorry.
  64. That's a lot of eccentricity, but creator/writer Noah Hawley meshes humor and pathos with deft plotting and dialogue.
    • 61 Metascore
    • 50 Critic Score
    Unfortunately, Skerritt sleepwalks through most of the show, Baker allows her bemused mom role to settle into an assembly-line dog trot, and the Brock children take precocity to a new level of annoyance. [18 Sept 1992]
    • The Hollywood Reporter
  65. Murphy and Adler opt for the caustic in a series that probably had its best chance of success playing it more subtle and more sentimental, tossing in the barbs judiciously.
  66. 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.
  67. 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.
    • 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.
  68. Sirens is a better than expected offering and probably better than the kickback it’s likely to get when it comes to faulty memories and dusty legacies.
    • 61 Metascore
    • 50 Critic Score
    "Knight School"... offers an unusual opportunity to see a coaching legend in his native habitat, but watching him work ultimately leaves a sour aftertaste.
  69. 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.
  70. Turn should be a lot more exciting than it is. It may eventually get there--but a lot of AMC’s series not named Mad Men, Breaking Bad or The Walking Dead never got there. And that’s an ongoing problem.
    • 61 Metascore
    • 80 Critic Score
    If all of this sounds a tad far-fetched, it is. But the amazing thing is that - among the quaint setting, the particularly endearing cast and exec producer Greg Berlanti's sweet, engaging script, crammed with little surprises - this turns out to be a really pleasant ride. If there is a single new drama this season with multigenerational appeal, this is it. [16 Sept 2002]
    • The Hollywood Reporter
  71. 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.
  72. Gripping and thrilling.
  73. Parenthood, like the experience itself, is an evolving tale, and one worth watching.
  74. Despite the treacly smugness, which doesn’t become fully evident until the third episode, it’s easy to get caught up in The Casual Vacancy’s soapy drama and to admire a number of the performances.
  75. While the series _ based on the 1995 Sandra Bullock film _ is more breathless than brainy, there's enough going on to make you want to stay tuned. [17 July 1998]
    • The Hollywood Reporter
  76. While The Last Ship won't be for viewers who want a lot of complexity and good writing, its predictability--ka-boom!--is not exactly a detriment in the summer. In fact, it might be the selling point.
  77. Despite feeling like the concept owes quite a bit to the British series Gavin & Stacey, and a nagging suspicion that the evolution of one couple completely smitten and the other ready to spit on each other will take a long time to come around to four friends and two happy couples, that's not a problem if the jokes are funny. So far, so good.
  78. 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.
  79. 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.
  80. Even though the movie is loaded with enough to satisfy those who believe Spector did it, as Mirren’s role is written and Pacino’s performance hints at, the film seems eager to suggest Spector was found guilty mostly of being a freak. That have-it-both-ways storytelling doesn’t make Phil Spector a great legal movie, but it allows two exceptional actors and a talented writer a chance to play with reality.
  81. It's an attractive premise but a pedestrian execution.
  82. Deep inside Philanthropist is a smart, earnest yet realistic series waiting to be told, and the pilot makes an intriguing beginning.
  83. It's a one-of-a-kind thriller that rewards your attention with nonstop action, endless surprises, exciting cinematography and a great assortment of characters.
  84. 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.
  85. The first few episodes deliver something unique for reality television.
  86. The hour goes by fairly quickly, but it's neither overtly scary nor overtly funny, and mixing those tones is very hard indeed.
    • 60 Metascore
    • 30 Critic Score
    What hatches in the first episode is a disappointing, weak strain of comic material, lacking the cunning, subversive quality of, say, "South Park." [10 Jan 2003]
    • The Hollywood Reporter
  87. Ultimately, both series [Sinbad and Primeval: New World] are the TV equivalent of summer beach reading: popcorn fun while they last, but don't expect a lasting impression.
  88. "Against the Grain" is kitsch masquerading as rugged regional realism and is, surprisingly, involving on both counts. [29 Sep 1993]
    • The Hollywood Reporter
  89. Low Winter Sun makes you want to watch for the potential, but a little more sun (or dark humor) to offset the This Is Serious tone would go a long way in encouraging that potential to be realized.

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