The Huffington Post's Scores

  • TV
For 307 reviews, this publication has graded:
  • 37% higher than the average critic
  • 5% same as the average critic
  • 58% lower than the average critic
On average, this publication grades 4.1 points lower than other critics. (0-100 point scale)
Average TV Show review score: 60
Highest review score: 100 Homeland: Season 1
Lowest review score: 0 Hemingway and Gellhorn: Season 1
Score distribution:
  1. Mixed: 0 out of 163
  2. Negative: 0 out of 163
163 tv reviews
  1. It's all a little pell-mell, but it just about holds together and Viola Davis is ferocious in the lead role.
  2. Ben Feldman and Cristin Milioti are good actors and undeniably adorable together in this competent pilot.... The charm of its cast and, ideally, sharp writing from the NBC show could keep it afloat.
  3. The pilot is high-strung but basically acceptable, and I'll keep watching in the well-founded hopes that it will find consistently entertaining groove and use its fine cast (which includes Tim Meadows and Dan Bucatinsky as Annie's dads) as well as "Happy Endings" used its fab ensemble.
  4. V needs to either camp it up completely or go in the other direction and model itself after propulsive dramas such as '24.' The show's attempts meld those two very different tones together just makes for an awkward mismatch.
  5. Lights Out isn't a bad show, but it's frustratingly uneven. It has its moments, but at this stage, it doesn't offer the kind of deeply fascinating and addictive portrait of human nature that we've come to expect from the top tier of cable dramas.
  6. [Whitaker's] charisma gives Suspect a strong center and his line delivery is consistently interesting. If the original 'Minds' is one of your favorite shows, there's no reason not to give this drama a shot.
  7. It's mildly amusing, but it comes off as an extended appetizer, not a meal.
  8. Everything about Covert Affairs feels bland and generic: Annie herself (Perabo is efficient but charisma-free), her missions (this week's assignment is completely predictable), her relationship with her sister (the wonderful Anne Dudek, wasted in a marginal role), and especially her relationship with her boyfriend, another CIA operative.
  9. It hasn't yet proven that it can find consistently satisfying things to do with the legal drama (Harvey's "closing" scenes are fun though I can see them becoming a bit of a crutch).
  10. The rather sunny ending of New Girl doesn't feel earned, and your enjoyment level may depend on how much you can tolerate Zooey Deschanel's doofy charisma.
  11. It seems like it could be a fun, if cheesy, soap opera about skulduggery and backstabbing in high society. But Revenge makes the fatal mistakes of wanting to be taken seriously and yet not making its characters worthy of any kind of serious consideration.
  12. If Person of Interest can calibrate the relationship between the leads in a way that makes their interactions more compelling, and if the show finds ways to answer Nolan's questions in creative and unexpected ways, it could be CBS' next addictive drama. If it ends up being a post-9/11 version of 'The Equalizer,' then this person will quickly lose interest.
  13. Despite all the attention to detail, or maybe because of it, Boardwalk Empire is a slog. For long periods of time, it's boring, glum, bloodless slog.
  14. Given how much potential this premise contains, I dearly wish The Fades could decide what it wants to do.
  15. Alcatraz isn't bad, but it's not exactly brimming with the kind of engaging magic and memorable people that you want from a J.J. Abrams project.
  16. There are fitful moments that work, but the show also manages to shoot itself in the foot regularly.
  17. It's weird that in the show's fifth season, the stakes actually feel lower than they did a couple of years ago.
  18. There's a weird stew of ideas about expectations, desire and anger roiling around in Mindy, but as they're explored here, those ideas don't cohere into a show that's either funny or cogent.
  19. It's oddly disconnected from the idea of art as transformation, the show's characters are thinly drawn and it's usually fairly easy to see where the story is heading.
  20. When Williams can rein in his hyper qualities, he can be an effective presence. And at least he knows his way around a joke, unlike Gellar, who, post-"Buffy," still hasn't risen above the level of the writing she's given (and the writing for her here is flat and one-dimensional).
  21. "He's a lawyer--but with a twist!" is not a formula that the big networks will ever stop trying to perfect. But the execution of that idea isn't quite up to par in the first episode of Rake.
  22. Crisis is efficient without really ever becoming enticing.
  23. It's too dour and it takes itself too seriously, but it has potential.
  24. This iteration of the very successful "NCIS" franchise is, unsurprisingly, as competent as all the others, Bakula is typically good and it's nice that the show actually shot in New Orleans.
  25. It'll likely be a typical CBS sitcom going forward: full of broad characters and predictable moments but reasonably amusing and well made.
  26. Every point is hammered home with a complete lack of subtlety; during the closing argument in the pilot, bits of previous scenes were replayed at crucial moments, in case the audience forgot what transpired several minutes ago. It's always a good time when a television network assumes that you're a half-wit.
  27. Again and again, the show takes what should be subtext and turned it into stilted dialogue that grows repetitive very quickly.
  28. It's be one thing if the show employed thinly drawn, cliched characters in service of solid comedy, but very little of Glory Daze is actually funny.
  29. No matter how many times the show piles on another complication for the patients of the week, everything about the characters and the cases has a been-there, done-that feeling, and that rote quality is not mitigated by the occasional acknowledgement of the show's jungle setting.
  30. Unfortunately the new version of Being Human is more repetitive, clunky and melodramatic than the previous one.

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