The Hollywood Reporter's Scores

For 1,124 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 Family Tree: Season 1
Lowest review score: 0 Mixology: Season 1
Score distribution:
  1. Mixed: 0 out of 603
  2. Negative: 0 out of 603
603 tv reviews
  1. NCIS: L.A., like its parent, relies on a sturdy, mostly youthful cast, sporadic action, and sprightly dialogue.
  2. While it's not exactly Breaking Bad, stepping away from the too-pat world of "blue sky" TV into something edgier is a welcome diversion.
  3. The actors, including the charismatic William Petersen and the exquisite Marg Helgenberger, lend credibility to the portrayals that might be indistinct in lesser hands. There's also a compelling, pulsating edge at the outset of CSI that commands instant attention, thanks in part to dynamic work from director Danny Cannon. [5 Oct 2000]
    • The Hollywood Reporter
  4. Fiennes gives Camelot some feistiness and playfulness, and the whole affair is boosted by the fiery Green, a bit part by James Purefoy, plus strong performances in the supporting cast (and yet more wonderful costumes by Joan Bergin, who worked her Emmy-winning magic on Tudors).
  5. It's imperative to make [a commitment] to this series because it doesn't really find itself until the second and third episodes. That's when you feel and recognize the beauty and the pain that Cynthia Mort smartly and sensitively portrays in her fiercely honest examination of sex in relationships.
    • 58 Metascore
    • 60 Critic Score
    Brisk, sharp and surprisingly emotional for what essentially is a series of venture-capital-investment interviews, the show--based on the Japanese format "Dragons' Den"--balances the human element of its wish-fulfilling conceit with at least the illusion of the business legitimacy that made Burnett's "The Apprentice" such campy fun.
  6. Maybe the best thing about this miniseries is the weird assortment of characters.
  7. They are real people with plausible emotions. And in the hands of Josh Schwartz (Gossip Girl, The O.C.), Amy Harris (Gossip Girl), Bushnell and two other executive producers from the CW's Hart of Dixie, the storytelling has a chance to be handled maturely.
    • 58 Metascore
    • 80 Critic Score
    To act as if Parks has to be measured against that show's [The Office] standard gives short shrift to a genuinely funny and engaging comedy that bears stylistic similarities to "Office" but has a heart and mind all its own.
  8. A moving, emotional and even competent show could have been made about sick or dying young people. But instead, Red Band Society wants to take your emotions and manipulate them--and then, only then, will it predictably and with malice drop the Coldplay anvil on you.
  9. But aside from Garcia, Archer and Louis (who does a colorful turn as the chef), there's too much sizzle here and too little steak.
  10. There's no such thing as a sure thing when it comes to new TV series, but Back to You is as close as it gets.
  11. What lends this passionate new USA Network drama series much of its idiosyncratic energy is an exceptionally committed performance from the exquisite Annette O'Toole. [24 Jul 2000]
    • The Hollywood Reporter
  12. The Finder is as agreeable as a contract on onion paper that says you, the viewer, will not question implausible moments or snicker when is limp and the acting staged.
  13. Better dense than dumb, however, and the move by Black Sails into something unexpected--better acted and better written than you might have guessed--is its own little treasure.
  14. Pretentious and far too taken with its own sense of menace, the show casts every line of dialogue as a pronouncement, every action as an uppercut to the chops.
  15. There's a lot of genre-bending in this one but some real entertainment value, dramatic potential and, hell, if it can be half of what Battlestar Galactica was, that's a winning combination.
  16. IFC's new 10-episode, late-night original comedy Z Rock is effortlessly, genuinely hilarious.
  17. OWN has tapped into an often uncomfortable, always entertaining in-progress drama that keeps you guessing.
  18. Power is a paint-by-numbers effort when Starz could really do itself a favor by putting a masterpiece in the market.
  19. Bee greets viewers with a set of splashy colors, a house band, house singers and house dancers. It's all very hokey, but there's also something lively and real about it.
  20. It is at times charming and different, and a good fit for Lifetime. It just falls short of a higher calling.
  21. It's a new kind of plodding--so slow, you are almost begging her to stay retired so you don't have to witness her gifts in action again.
  22. Despite the intense look at the legal process, the show moves quickly.
  23. Allegiance is a broadcast network series that doesn't have the writing or the acting chops to compete with its FX counterpart. The series is, however, entertaining on its own merits.
  24. Although Whedon infuses Dollhouse with an impressively detailed story line and social structure as well as nifty production values, the show lacks something for viewers to grab onto.
  25. One wonders how close satire is to truth here, as this unlikely pair slogs through backstage conflict with little apparent help from director and exec-producer Larry Charles.
  26. Fascinating characters, a solid cast and strong guest casting (Robert Klein and Anne Meara are in early episodes) combine with an eyes-wide-open approach to a typically taboo TV topic. The result is an intriguing series and a sense of the impact Chris Albrecht will have as Starz CEO, a job he started this year.
  27. All of the obvious self-awareness jokes are glaring and irritating. But here’s the hope: Both Cho and Gillan are very likable actors and even manage to nail what is asked of them in the pilot, playing Eliza and Henry.
  28. But even as the cop genre seems beyond saturation, along comes TNT's Memphis Beat, a series with a fresh character in a fresh environment with a fresh look and sound that proves, against all odds, that good actors and agile execution trump format every time.

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