The Hollywood Reporter's Scores

For 1,509 reviews, this publication has graded:
  • 53% higher than the average critic
  • 3% same as the average critic
  • 44% lower than the average critic
On average, this publication grades 3.8 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 Dominion: Season 1
Score distribution:
  1. Mixed: 0 out of 806
  2. Negative: 0 out of 806
806 tv reviews
  1. When the filmmakers get to showcase a true personal investment in the subject matter, the episodes really shine. When the directors approach the subject from a distance, what you get is a by-the-numbers NatGeo special, which isn't a bad thing, but plays as really disappointing given the names involved here. From this batch, examples of the latter outnumber the former, with only one installment that's truly worth seeking out.
  2. 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.
  3. Creator Elizabeth Meriwether manages to make the situations funny and lets Deschanel channel her charm--a winning combination.
  4. The show is pretty darned funny, especially once you get past the 45-minute pilot and into the half-hour regular episodes (smaller is better, actually).
  5. The show is a bold idea, and there's hope for the modern-world portions, but it doesn't quite know what it is (or maybe it does, but the audience won't).
  6. 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.
  7. Both Emerson and Caviezel are compelling and the way Nolan and Abrams have constructed the look (lots of nourish far-away shots in crowded streets, a sense of contained doom in an urban city) bodes well. That alone is worth the investment.
  8. Thus far, Feig and his collaborators have found the right balance of humor and gravity for this celestial comedy.
  9. The series, even after a second episode, is stuck in a rut. After awhile, the insane predicaments of these overprivileged characters are more pathetic than funny.
  10. 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.
  11. If you’re up for something completely different that may end up imploding just as easily as it could be riveting, then make the commitment. Wayward Pines is filled with enough guest stars and gear shifts to never stay in the same place and thus remain interesting, though not always logical or satisfying.
  12. There's a thriller aspect to it that dovetails nicely with the sassier elements. But the show never devolves into wanton erotica. And all I know is through each of the first four screened episodes, I couldn't wait to get to the next installment.
  13. We get the feeling Grier is much more concerned with scoring a laugh than raising an issue, which makes his well-placed jabs all the more clever.
  14. Shakespeare might be turning in his grave, but he's probably got a smile on his face while doing it.
  15. There almost is nothing here that hasn't been seen before, including creaking doors, cobwebbed mirrors, ghostly visions and a lot of meaningful glances.
  16. A show that has smarts, guts, style and attitude to spare. [14 Apr 2003]
    • The Hollywood Reporter
  17. Much of The Expanse will feel familiar because, at least for four episodes, the writers are struggling to maintain momentum across at least three sci-fi-trope-heavy storylines that eventually could coalesce into something unique.
    • 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
  18. Great shows don't have to be this eager and this sloppy and this obvious. TNT will need to make Animal Kingdom improve significantly over the next several episodes if the series wants a shot at survival.
  19. Dumb and obvious and formulaic.
  20. Although titled The Defenders, there is no mistaking this stubbornly and unaccountably bland legal show for the bold CBS series of the 1960s with the same name.
  21. Created by Kevin Biegel, Enlisted comes out of the gates almost fully formed.
  22. You have a series that cobbles together a pretty strong rooting interest.
  23. Blindspot (not the title you’d expect or hope for when your series is about a woman covered in tattoos) has more than enough going for it early on, despite some real bouts of silliness, that it’s one of those few and elusive pilots that can be endorsed for at least initial evaluation. The reward for spending an hour is mostly worth it.
  24. Dwayne "The Rock" Johnson’s is magnetic as Spencer Strasmore.... That’s not to take anything away from the supporting players; if Johnson is the quarterback, they’re the necessary fullbacks, tackles and tight ends that make the team whole.
  25. In its best moments, Vice News Tonight felt like a string of little amuse-bouches to whet appetites for full meals available online. In its lesser moments, it felt like Full Frontal or Last Week Tonight without the jokes and, honestly, with less on-air depth.
  26. This role is tailor-made for Baker, who has a flair for playing irreverent characters who are crucial to the success of the system even as they tweak its authority figures.
  27. Unless Good Girls Revolt can make the stories it tells more interesting and better paced, it'll just be a pretty good show in a world that's churning out great shows--breaking-news alert--at an awe-inspiring clip.
  28. There are intriguing elements amid the clutter: Policeman Frank Leo (Aaron Douglas) is a beefy, moral man of the people who in the process of rallying the troops becomes a target for the police brass.
  29. It should be noted that Geere and Cash are very, very good--they just need better material. (Unfortunately, the rest of the cast, even though they don't get much work, grind the show to a halt--an almost insurmountable problem except that Worst's penchant for trying to shock with crassness is really the stumbling block here).

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