The Hollywood Reporter's Scores

For 1,737 reviews, this publication has graded:
  • 51% higher than the average critic
  • 4% same as the average critic
  • 45% lower than the average critic
On average, this publication grades 4 points lower than other critics. (0-100 point scale)
Average TV Show review score: 62
Highest review score: 100 Game of Thrones: Season 4
Lowest review score: 0 Charlie's Angels: Season 1
Score distribution:
  1. Mixed: 0 out of 927
  2. Negative: 0 out of 927
927 tv reviews
  1. The Hap and Leonard friendship is a fantastic mixture of politically incorrect, boundary-free banter, loving antagonism and do-anything-for-each-other dedication, and the writers push hard to convey the friendship, even if some of the back-and-forths feel more natural on the page.... The 45-minute episodes and the sometimes light narrative leave the initial three episodes feeling somewhat thin, but that feeling could abate in the presumably intense closing three episodes, or maybe the first season will be best binged as prelude to a second season.
  2. A new BBC America sci-fi/thriller that's so good and unsettling and creepy that even grumps like myself can't help but be in its thrall.
  3. The show has a complex rhythm involving characters, satire and sight gags. You can watch "Barker" again and find things you missed the first time.
  4. The pacing, the writing, the directing all contribute to making Thirteen seem unusually fresh within the framework of a familiar story, but there's no getting around the fact that Comer, as Ivy, absolutely seizes the opportunity here to be daring.
  5. First, the series is completely on point with what the network is doing elsewhere (Arrow, etc.). Second, it's actually very well done. And third, it's wholly entertaining.
  6. This season’s determination to be bleak and honest isn't as pleasurable. The series is very good at what it does, but I can’t help thinking that more Gonzaga, Peet and Gallagher--in upbeat story form--would go exceptionally well with less dire versions of the excellent Lynskey, Zissis and Duplass.
  7. Mostly it’s great to see Tennant and Colman try to put back the pieces of the wrecked lives of Hardy and Miller.
  8. [Arthur & Georg] is a dutiful adaptation of the novel, compelling in parts, though never satisfying as a whole.
  9. 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.
  10. There's a nice balance of humor (Groff in particular gets to milk the comedy) and emotional drama coursing through it (like Girls, which makes a fine pair for it on Sundays).
  11. Oxygen's entertaining new spinoff reflects well on the blockbuster franchise and illuminates the pressures faced by talented kids on the brink of showbiz success.
  12. Arrow, proves to be both on-brand and entertaining--if you turn off the snark detector and downplay the need for plausibility or logic.
  13. Stoppard's storytelling structure has an odd rhythm to it, and White's direction can be both majestically beautiful and transitionally jarring. But combined, their choices allow Parade's End to achieve an exquisiteness, a sense of high art.
  14. It is, flat out, one of the most intriguingly entertaining new series of the year, and it’s so much more than pure entertainment. For a sci-fi series, there’s some real heft to it.
  15. The Writers' Room is a fun look at the mostly unknown faces who have created some of the best shows on TV, though The Writers' Room might not have been wrong to expand the format and really delve deep into the nuances of the creative process of the specifics of certain shows, even at the risk of alienating viewers who weren't intense fans.
  16. Coppola and Schwartzman, who has a great cameo about a reporter doing a podcast, dole out just enough in these half-hour episodes to keep it light, funny and (by the fourth episode) a bit more brazenly quirky, while also not losing touch with the story's core--which is the music.
  17. It's the writing that gets in the way of some of the believability issues in The Chi. Some of this might work out with more episodes as Waithe and her writing staff breathe more life into the characters. Several additional storylines aren't fleshed out enough yet to know if they'll become interesting. With barely half the stories and characters piquing interest early on, The Chi doesn't come out of the gate strong and will have to overcome structural weaknesses and acting issues to have any chance to succeed, so patience will be needed.
  18. If no one in the new Fab Five stands out like original fan faves Carson Kressley or Jai Rodriguez (save grooming expert Jonathan Van Ness for his obnoxious attempts to become a meme), the straight guys are surprisingly memorable.
  19. As Henry’s world expands, and as it becomes clear that his myopic perspective doesn’t exclusively define the intertwining narrative, it’s easy to get drawn in. Davies is best at capturing the easy camaraderie that develops among friends and lovers.... He’s on less sure footing with some of the more drastic shifts in tone in each series.
  20. Battle Creek works best when it lays on the quirkiness and sputters a bit when it gets too coy or sappy about the crimes the detectives are solving. But the series, thanks to Winters and Duhamel, is very entertaining and kills an hour with ease (as most good CBS procedurals do).
  21. London Spy is a love story, then, between Danny and Alex first and foremost--one of the most intimate and nuanced of gay love stories put on TV in some time. Smith’s precision in this arena is at the heart of what makes London Spy so good.
  22. The creatures are essentially designed as bowling pins for our protagonists to knock over with a well-placed shot and a quip, and Keeslar and Morales’ interaction is nothing if not playful and lively. But you’re left not really knowing if you want to come return and spend a whole lot more time with this quarrelsome twosome.
  23. As exciting as the original.
  24. With its sharp writing, superior cast, evocative locations, seductively seamy subject matter and delicious performances, Top of the Lake is decidedly back in a major way. After these two appetizers, you want the rest of the meal right away.
  25. Unlike NBC's previous musical experiments, it's likely that The Wiz Live! will actually live on in replays and on DVD as audiences try to notice new details, re-experience adored numbers and not have to pause every five minutes for commercials.
  26. Sense8 is more visual feast and emotional touchstone than it is heavyweight story or smart puzzle. For some, it will be a guilty pleasure, but that might be selling short the important "love is love" message it espouses. Sense8 is probably better described as a series you experience more than understand.
  27. There is very little urgency in the storytelling--layers of voiceover bits don't help, even--and therefore Outlander can hardly be described as compelling. In many ways, this is a story well and thoroughly told but with almost none of the smart pacing of similarly dense fictions like Game of Thrones. And yet the world created in Outlander is not without interest.
  28. It seems like a missed opportunity to dig deeper into Knight’s aesthetic and emotional turmoil. Despite the doc’s overall sketchy nature, however, this remains an enjoyably affectionate tribute.
  29. [The premiere] Titled "Eleven Years Later," it's a clumsy bit of catching up and realigning the show's pop culture references in ways that made me cringe frequently and laugh never. ... It's in the second episode that acknowledging the passing of time begins in earnest and really benefits the show.
  30. [A] gripping, smartly written, dark and beautifully directed new French series.

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