The Hollywood Reporter's Scores

For 1,521 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 The Americans: Season 4
Lowest review score: 0 Sons Of Hollywood: Season 1
Score distribution:
  1. Mixed: 0 out of 812
  2. Negative: 0 out of 812
812 tv reviews
  1. This series is still sprawling. Three episodes are not enough to know where it's going or where it will end up. The second and third episodes don't completely wriggle free of some of Luhrmann's whimsy. But all told, there's a better balance between what the famed director apparently wanted to do with tone and hewing more accurately to the times.
  2. Pitch has an admirable sense of scale and not overselling its main plot. ... The Pitch pilot ends with a twist that doesn't enhance anything and, in fact, made me concerned about how the show might be structured moving forward.
  3. Pretty much all of the success in 11.22.63 comes from Franco being able to take the concept from bizarre to believable, with a major assist from Cooper, who combines with Franco in the early episodes (and flashbacks) to give this series its much-needed dramatic believability.
  4. Contemplation and condemnation, all wrapped up into one, with no easy answers at the end of it all. The fact that Dark Net never allows you to entirely pin down its perspective keeps the proceedings riveting.
  5. Though Creature Shop's competition approach might be tiresomely formulaic (all stemming from the Project Runway idea tree), the bottom line is it's still a series that promotes creativity.
  6. As for first impressions, I liked it. ... Slight nitpicking should not obscure the fact that overall Wilmore was funny; his show was smart and thoughtful, has a bright future and seems an excellent fit with Stewart and the Comedy Central brand.
  7. Going into Season 2, the acting performances are the primary reason to tune in.
  8. At its best, the series is wholly original in its pursuit of telling a dramatic espionage story while leavening it with inspired doses of quirk and a refreshing, even lovely look at existential crises. It is, all told, a hugely ambitious undertaking that probably won't get the attention it deserves, and that's a real shame.
  9. Credit Anfanger and Jacobson with quickly establishing a connection as the clueless brothers with big cinematic dreams. And, of course, credit Comedy Central with keeping up its streak.
  10. Bette is full of good-natured mischief and proves a surprisingly easy fit for Midler. The weaknesses are obvious enough: a need to ease up on the fat jokes and the broad physical farce that's a little too obvious. But the screen loves Midler, which is never more apparent than during a scene that finds her turning a Kid Rock rap-rock tune into a jazzy swing number. You can't write that into a script; it's pure magic. [11 Oct 2000]
    • The Hollywood Reporter
  11. The action is swift, the patter is clever, the casting is smart and the special effects are nimble, all of which adds up to a flashy hour of fun.
  12. Becoming Us, which is successful both as education and entertainment, vividly demonstrates that although some of Ben’s issues are unique, many are typical.
    • 68 Metascore
    • 90 Critic Score
    It shows us that comedy isn't really dead, it's merely been snoozing, and this savvy shot of character-driven adrenaline serves as the wake-up call. Packed with brutal showbiz truths and snappy dialogue, the half-hour is revelatory in the clever way it spotlights the empty shell of celebrityhood and the party-hearty superficiality of those caught up in its reflected glow... And watch for this to be Piven's breakout role. His agent Ari is a creation of slimeball wonder. [16 July 2004]
    • The Hollywood Reporter
  13. It remains to be seen how well Greenleaf will hold attention after the novelty wears off and the storylines have to stand on their own, but after three episodes it's a promising start.
  14. A superbly constructed and unpredictable tale of intrigue and mystery.
  15. Just because these first two episodes are going for something slower and ostensibly more thoughtful doesn't mean it won't be back on 24 terrain by midseason, and that probably wouldn't hurt, because these early episodes aren't really what Homeland does best.
  16. Sutter packs the early episodes with colorful dialogue but at the same time so much random violence that it crosses the line to gratuitous.
  17. Somewhere around the three-hour mark, all you want to do is have both families line up opposite each other, pull the trigger and fade to black.
  18. As with all the "American Girl" stories and telefilms, "Felicity" makes history come alive in a compelling way for young viewers.
  19. The acting here is first-rate, the details sharp and the cinematography superb. In other words, Tudors hasn't lost a step.
  20. After a handful of episodes that were periodically funny and stridently downbeat (which seemed to be the goal), Baskets got stuck in that low gear.
  21. Laughs come from all angles here, though particularly memorable gags crank up the raunchiness (one scene shows the Bellacourts engaging in boring “procreation sex”) and absurdity.
  22. With the important caveat that Wynonna Earp, premiering on Syfy on Friday (April 1), isn't as sharp, funny, thematically rich and consistently well-cast as Buffy was even in its bumpy opening season, there are enough elements in common to justify a tenuous comparison and enough small pleasures to encourage continued viewing.
  23. Davis is riveting throughout.... Unfortunately, Murder has a number of flaws.
  24. 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.
  25. 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.
  26. Kargman’s intimate knowledge of this elite universe always feels grounded in first-hand experience, and the laughs are frequent and genuine.
  27. In tone, Alpha House tacks much more closely to Veep but it shares certain elements with House of Cards as well, most notably the superb camerawork and smart writing.
  28. A rip-roaring thriller... that pulls off the rare trick of being both massively intelligent and unbearably intense.
  29. This is a show that will benefit from some fine-tuning. What it lacks in originality it should make up for in content, and in the end we all know that this is a franchise (of sorts) that has very good bones.
  30. 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.
  31. It remains a wholly impressive piece of work, stylish and graphic and bold in equal measure while at the same time greatly lacking a cohesive focus.
  32. It has neither the exactitude of the times nor the talent of the writers to get at the issues, ala Mad Men, that illuminate the issues of the day.
  33. A charming small package. ... As was true of the 1989 feature film, TV's "Honey" transmits good, buoyant fun. [25 Sep 1997]
    • The Hollywood Reporter
  34. Despite having Berry and a sci-fi idea that, while not super-original, is still intriguing, Extant lays flat for most of the hour, failing to set the hook.
  35. 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.
  36. CBS has managed to create a period piece without relying solely on that factor as the cool conceit.
  37. Season 2 features an expanded role--probably too greatly expanded--for Dale (Todd Stashwick), the dull-witted, violent villain and nemesis from Traveller days. Even so, Izzard and Driver remain a joy to watch in this odd but fascinating series that is derivative of nothing on TV.
  38. The improv style when done well, as it is here, doesn't generate sidesplitting laughter, but it does produce a steady stream of deliciously enjoyable moments.
  39. Riverdale is all-in on its gimmick, and I can admire that.
  40. But long-term? Seems like fans might grow frustrated if that’s the central theme. If Billy and Billie become "regular" relationship partners, the premise will need to expand. In the meantime, LaBute, Brody and Joyce have given us enough reason to keep watching.
    • 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.
  41. What makes the disturbing story gripping, beyond Oyelowo’s spellbinding performance, is its humor, defining compassion and incisive imagery.
  42. A series with grit, charm, warmth and wit about another woman who defies convention to make her own way. And if Heather Paige Kent ("Stark Raving Mad"), who plays Lydia, doesn't steal your heart, it's time for a transplant. [29 Sept 2000]
    • The Hollywood Reporter
  43. Although episodes are self-contained, each has a clue that points to the overall involvement of a shadowy, giant corporation, Massive Dynamics. Combine these elements with solid special effects and confident direction and you get some heavy-duty counterprogramming to ABC's "Dancing With the Stars."
  44. Outrageous, bizarre, effortlessly hip and unsubtle in magically edgy ways.
  45. A pretty gritty and compelling drama.
  46. Anyone who makes it past the pilot is in for a pleasant surprise: Things greatly improve as the show settles into a comfortable rhythm through Episodes 2, 3 and 4. United States of Tara breaks new ground when it comes to warped dramatic family comedy.
  47. This isn’t look-at-me journalism with a fitted Gap t-shirt. It’s more of a holy-hell-can-you-believe-this approach that fights perfectly on a cable channel trying to do something different.
  48. [A] vastly inferior product, which lacks spark and purpose.
  49. Those willing to pay close attention to the long list of characters will be rewarded with a diverting story and several winning performances.
  50. Hotwives is knowing and funny, and a great showcase for many talented comedians who both star in it and appear as guests.
  51. While all the philosophical, existential and surprisingly intimate moments of their friendship are the wonderfully surprising backbone to Wilfred, the hook is the absurdist situations and brilliant humor.
  52. Clearly striving to impart serious messages about tolerance of the transgender community while throwing in a few Kardashians for comic relief, I Am Cait emerges as a surprisingly thoughtful if undeniably self-serving effort.
  53. As first nights go, this was a winner for Corden.... This is very much a show under construction.
  54. When the writers nail the truisms--Madrigal’s character says he hasn’t seen a movie since 2008, and when Andy and his wife, Laurie (Annie Mumolo), get a couple of free hours to ostensibly have sex, they choose instead to catch up on Homeland--the series really clicks.... Where About a Boy suffers is when the storytelling gets a little too saccharine in the Will-Marcus friendship.
  55. Such soft areas, and a feeling of forced quirkiness, keep Big C from being a Class A series. Still, it's a show that, like Cathy, almost certainly will find its footing as time goes on and, like terminal illness, undoubtedly will provide a few surprises before the end.
  56. She is all over the map and that's precisely what's refreshing about her. What the world needs now is not another over-stylized, super-slick talk show.
  57. Arguably the best comedy this fall.
  58. I didn't hate "Top Design" as much as I wanted to.
  59. Victoria delivers precisely on two of the most essential elements of making historical fiction work: Is the cast--and particularly the lead--a group you want to spend hours with and does the plot move at a brisk, entertaining clip? That's an emphatic "yes" to both.
  60. All the early signs were right--this is an exercise in verbal gymnastics and no matter how famous the two leads are, it's difficult to embrace their characters, because they have that air of stagey self-importance, as if the goal was to be viewed from seats in the distance, not welcomed into your living room.
  61. HBO's Too Big to Fail is mesmerizing and, if you can call watching an economics lesson from hell entertaining, then yes, it's entertaining.
  62. The first two hours go at a brisk, thrilling pace that allows for character development as well. A lot happens and there's a desire for more.
  63. Though there are millennia being covered, some may find the material oversimplified or oversanitized, but it's still an engaging and appealingly presented overview.
  64. In many ways, The Bridge is better in season two than in season one, but for some reason it decided to triple-down on the plot and make the whole thing a complex web of interconnected stories.
  65. There is a universality to "IT" that makes at least some of it instantly relatable. Ayoade, O'Dowd and Parkinson are terrific as employees who want only to keep their jobs but not let them interfere with their personal lives.
    • 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.
  66. Bleak but intriguing, Company is a brilliant reflection of the mind-set that dominated world politics for a half century. Solid performances are the rule, with special applause for Molina and Keaton. Director Mikael Salomon effectively uses darkness and shadows to illustrate the clandestine environment as well as metaphors for this grim historical era.
  67. Not only is the pilot a wonderful mix of hilarious moments (pretty much any time Faxon is in the picture) and subtle sentiment, but it's one of those shows where the acumen of the off-camera talent (Fox) is impressive and clear, which gives hope for long-term success.
  68. Maybe a solid Western-ish offering like Longmire will be good enough.
  69. This is challenging fare, but the smart storytelling and realistic portrayal of professional relationships is unique and worth checking out.
  70. The high exertion of getting mirth and metaphor from the morbid often leaves Fresco's cleverer dialogue buried and forces the stars to play the same strained beats over and over. But like zombies themselves, the show is relentless, and by the end of 10 episodes, there was progress towards a happy creative marriage.
  71. Despite coming out of the gates slower than is ideal in a crowded landscape, the series shows signs in the early going of blossoming into something much bigger and better. Before committing, however, you should be all in on Hardy. If not, look elsewhere, because this is absolutely his show.
  72. This collaborative atmosphere and casual framework may keep Wizard Wars from being the battle royal of Adventure Time's Wizard Battle, but it's still fun, as its performers manage to mutate the mundane into magic.
  73. Copper has the same problems that AMC's Hell on Wheels does, which is that there's an excellent show there somewhere, just not on the screen.
    • 67 Metascore
    • 70 Critic Score
    A word about the supporting cast: excellent. Holland Taylor is an expert at playing strong-willed, domineering women and shines as Evelyn, Charlie and Alan's mother. There are similarly strong contributions from Hinkle as Judith and from Melanie Lynskey as Rose, a nonthreatening stalker with a fixation on Charlie. [22 Sept 2003]
    • The Hollywood Reporter
  74. With its large ensemble cast and frequent flashbacks--visiting and revisiting events that occurred from 23 minutes to 13 months in the past--watching Event is like riding a contraption that is half time machine and half bumper car.
  75. After one show, let's say he's a work in progress.
  76. "Heroes" is one of TV's most imaginative creations and might, with luck, become this year's "Lost."
  77. It's the clever satire for which we've all been waiting.
  78. Some of [the often simple but absurd comedy] was lighter in spots than others, but the series has a very distinctive comedic voice and a striking visual approach that it keeps up through the episodes
  79. It could be complicated, but Peters' tightly written teleplay makes it easy to follow. In addition, the pilot raises provocative issues without getting didactic. That, combined with mythology less dense than, say, ABC's Lost, should make this an attractive viewing option.
  80. The series has yet to find any pairings or relationships with any real repartee or comedic chemistry, so the show is a lot of individuals elevating tired material with strong line readings, including guest stars like Bob Gunton, Cristine Rose, Ginger Gonzaga and Patricia Belcher.
  81. 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.
  82. It's disappointing that this is a diverting curio rather than a deep plunge into the cold waters of obsession.
  83. Ultimately, Brooklyn DA is an intimate look at urban prosecutors that, even though it can feel a little too clean, certainly stands out among unscripted summer programming.
  84. 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.
  85. It's a serious problem when secondary characters in a musical far outshine the leads ... The imbalance turned what has always been a tremendously entertaining musical into a lumbering vehicle, made worse by awkward '60s-style "live" commercials and deadening segues to an over-enthusiastic Darren Criss with the studio audience.
    • 66 Metascore
    • 30 Critic Score
    Some things are better than they were in the '60s--including the top tier of television shows. This just isn't one of them.
  86. There's a great cast here--including Zeljko Ivanek as the president's Chief Of Staff and budding nemesis to Elizabeth; and Bebe Neuwirth as head of the staff Elizabeth has inherited. Yet the secondary players have yet to pop.
  87. Although the premiere could be more energetic, there's enough going on to coax you to revisit the Buffkins. Hephner shows genuine star potential with his portrayal of brooding Morgan, the moral center of the show. His performance is reason enough to keep watching, though others also stand out.
  88. 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.
  89. 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.
  90. The nicely cast ensemble is formidable, but the driving power is the wit and freshness of the writing. It snaps, crackles and pops. [4 Mar 1997]
    • The Hollywood Reporter
    • 66 Metascore
    • 80 Critic Score
    Lurking behind the surface of this raucous comedy is an astute meditation on the promise and peril of leading an unconventional life, something about which aspiring actors know a thing or two.
  91. Heroes of Cosplay is a worthy journey into a world few may be familiar with.
  92. A to Z quickly puts you to sleep with its far-fetched Hallmark-style romance.
  93. Sure enough, HBO's "Recount" is replete with inside politics. But it also has well-written characters, first-class acting and confident directing, which produces a level of tension and suspense you wouldn’t expect in a story about a widely reported recent event.
  94. It could be that, like a lot of sitcom pilots, Broke Girls is trying too hard. But when the jokes work, they're funny, so there's hope.

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