Variety's Scores

For 1,472 reviews, this publication has graded:
  • 36% higher than the average critic
  • 3% same as the average critic
  • 61% lower than the average critic
On average, this publication grades 8.3 points lower than other critics. (0-100 point scale)
Average TV Show review score: 56
Highest review score: 100 True Detective: Season 1
Lowest review score: 10 Category 7: The End of the World: Season 1
Score distribution:
  1. Mixed: 0 out of 569
  2. Negative: 0 out of 569
569 tv reviews
  1. The absurdity of watching the band engage in an escalating feud with a rival trio of kid performers is genuinely chuckleworthy, and the series' rough edges seem well suited to its latenight IFC berth.
  2. Fortunately, the series never veers terribly far from the central duo, each of whom--to borrow a bit of vernacular--is played in cracking fashion by Horne (from "The Catherine Tate Show") and Page ("Love Actually").
  3. The show's polished exterior, however, has seldom scratched the surface hard enough to find anything deeper underneath. Vince's career odyssey back from "Medellin" could provide just that--the season-long hook to make a show already on Hollywood's A-list match that with an actual A-game.
  4. Great it’s not, but the fizzy mix of soapy elements, screwy comedy, high-society hijinks and romance dovetails with where the netlet has been heading programming-wise.
  5. The episodes don't really go anywhere, but the star-writer-producer has a genial Everyman presence and surrounds himself with a rich array of characters.
  6. So far, so good, but while writer-director Graham Linehan (working with "The Office" producer Ash Atalla) has created a vivid trio of oddball characters, his ingenuity doesn't extend to finding consistently amusing situations in which to put them.
  7. Dialogue by Diane Ruggiero is sharply written and realistic, observational and unhurried. It remains to be seen, though, whether 9 p.m. Friday viewers are ready for the debate over Vivian's new Brazilian.
  8. That NBC has bought into this concept reflects network TV's lowered expectations, but the series' two-hour premiere is a respectable effort--handsomely shot and offering old-fashioned end-of-the-week escapism, albeit with a character unable to escape his own island purgatory.
  9. 30 Rock remains merely a good comedy whose shortcomings prevent it from joining the ranks of great ones.
  10. While toying with chemistry is always dicey--especially when somebody as prominent as Grissom is involved--the storytelling remains the star, a fact neatly underscored by the casual nature the Petersen-Fishburne baton pass plays at least within this fast-paced hour.
    • 80 Metascore
    • 70 Critic Score
    Damages works best when it doesn't show its cards early on, so it's hard to make definitive judgments after only a handful of episodes. Predicaments and positions can often change, and seeing a character move from one end of the ethical spectrum to the other can be reinvigorating. Here's hoping there'll be a few such shifts along the way.
  11. As the show progresses, the stronger moments indicate that Showtime has a more durable commodity here than just the sales pitch for "Sybil: The Series." That's in part because the producers have done an exceptional job of casting beyond the central roles.
  12. Director Coky Giedroyc's grittier, reality-based approach to Sarah Phelps' adaptation contrasts sharply the popular and nostalgic musical account "Oliver!" Nevertheless, this version does stay true to Dickens' original intent to call attention to social evils in harsh times.
  13. As constructed by series creators Lowri Glain, S.J. Clarkson and Rachel Anthony, there's a strong momentum to the serialized storylines, and the key players are so innately appealing.
  14. A series that departs from past pay TV heavyweights in possessing no more heft than a pleasant breeze. Then again, amid all the tumult in today's busy and bustling dramas, that may be just the sort of soothing balm that could make both HBO and an acceptable swatch of its viewers happy.
  15. Even those whose historical knowledge goes no further than the whole "six wives" thing can ascertain that the future doesn't bode well for poor Jane, but the particulars remain fascinating amid all the bodice ripping, torture and jockeying for the king's favor.
  16. Playing to the cameras, even many elements that feel slightly staged (including convenient intra-housewife feuding) prove nearly irresistible, again reminding us that horrible people you'd never want to associate with are often the spice of reality. This show puts the Bada-Bing in Bravo.
  17. It remains to be seen whether Teddy's work on behalf of the needy can become an unexpected gift to needy NBC, but strictly as light summer entertainment with a touch of heart, The Philanthropist delivers.
    • 75 Metascore
    • 70 Critic Score
    After starting slow in the Nielsen race early on last year and then finding its footing, Fringe should settle in nicely.
  18. Cliffhangers help pull the episodes along, and the idea behind Trinity--whose murderous reign might date back three decades--is intriguing.
  19. The central duo's bond, of course, has been the program's one constant, and even with its periodic missteps and excesses, it's worth hanging around to see where series creator Ryan Murphy and company choose to leave them.
  20. The good news in general is seeing comedy exhibit signs of a comeback; the bad news for 30 Rock might be that like "Murphy Brown" in the 1990s--which soared to its highest heights, come to think of it, thanks to a dispute with a Republican vice president--the show's most golden moments might actually be behind it.
  21. Men isn't a great series yet, but it has the assets to grow into one. And in the interim, watching it certainly isn't a Sisyphean task.
  22. At this point, the show's creative team has earned the latitude to trust that it knows where it's heading, as unpredictable and soapy (times three) as that path might appear. So while the series has so many plates spinning as to feel messy at times, the course of true "Love" never did run smooth.
  23. 24" works best when the show doesn't take itself too seriously -- incorporating just enough sobering geopolitics to establish a credible foundation before indulging in wild flights of counterespionage fancy. Moreover, having one villain drive the plot for a handful of episodes before being supplanted by another has added greater satisfaction and closure to the program's high-wire storytelling.
  24. Survivors isn't great or groundbreaking, but it's a whole lot more than nothing.
  25. Familiar as it all sounds, series creator Michael Rauch plucks most of the right chords.
  26. Tim's world is so consistently outlandish as to be difficult to resist, especially since Dildarian plays the whole thing with the understatement of Bob Newhart's old phone routines.
  27. Ultimately, the series contains just enough skepticism to mitigate charges of being exploited as a questionable enterprise's PR tool.
  28. Wells and company have delivered a cop drama with its own racing pulse, albeit for a network that's uncomfortably close to flatlining.

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