Variety's Scores

For 1,850 reviews, this publication has graded:
  • 35% higher than the average critic
  • 4% same as the average critic
  • 61% lower than the average critic
On average, this publication grades 7.9 points lower than other critics. (0-100 point scale)
Average TV Show review score: 57
Highest review score: 100 Five
Lowest review score: 10 Rising Star: Season 1
Score distribution:
  1. Mixed: 0 out of 729
  2. Negative: 0 out of 729
729 tv reviews
  1. Public Morals doesn’t yet feel like a top-tier cable drama, but it has the makings of a highly watchable one, and stands a cut above much of TNT’s lineup in terms of ambition.
  2. What makes it all work, moderately, is Union, who manages to portray Mary Jane as relatable, sexy and vulnerable, without being a saint or goody-two-shoes.
  3. [The} New Normal won't be for everybody, but there's enough here to suggest it can connect with a loyal core, enticing some to stick around and see what develops.
  4. Surrounded by a solid supporting cast, it's a workable if not quite prime piece of development.
  5. 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.
  6. While covering a good deal of ground, the filmmakers don’t linger over the ordeal of the Crucifixion in the way, say, Mel Gibson did in “The Passion of the Christ,” and the program benefits from that sense of economy. Still, the three-hour telecast (about three-quarters that length, sans commercials) must recover from a truly terrible opening.
  7. While the concept is hardly original (and probably hews closest to the movie “EdTV”), the series still feels fresh and timely.
  8. A solidly crafted if mostly undemanding piece of summer entertainment, shifting to a new high-profile case with a ripped-from-the-headlines quality.
  9. The good news is if you’ve enjoyed the shows in the past--and perhaps felt New Girl lost a bit of its fastball--the kickoff episodes suggest there might be more to like in the year ahead.
  10. Compared with Martin Scorsese's exhaustive docus about Bob Dylan and George Harrison, Crossfire feels almost too brisk and workmanlike. But like a good concert, it ably balances major hits, back-catalogue oddities and plenty of showmanship.
    • 77 Metascore
    • 70 Critic Score
    Down deep, however, this is the old, highly workable stuff, tidily refurbished. [12 Sep 1994]
    • Variety
  11. The series still remains a trifle weak in terms of the support staff.... Still, the interplay between Kaling and Messina is actually quite good--much better, in fact, than their squabbling when they were at each other’s throats earlier in the run.
  12. Not everything works, but the previewed episodes again establish this as a series with a singular vision, elevating the indignities of dating to an epic level.
  13. Ellroy's potboiler style will be off-putting to many people, but the lurid subject matter actually feels like a pretty good fit with Investigation Discovery's unabashed immersion in crime.
  14. Viewers are pretty quickly drawn into the two-tiered plot, in a manner that goes beyond just admiring Bean’s verbal calisthenics as he flits from one accent to the next.
  15. [ABC's] infatuation with translating the [country music] genre to series still appears questionable. Despite that, credit Nashville with crafting a reasonably catchy hook.
  16. 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.
  17. The start to the bifurcated final season feels more indifferently paced than most--and thanks to the gradual push further into the 1960s, perhaps too groovy and scattered for its own good.
  18. 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.
  19. For now, it’s an intriguing enough premise to warrant continued attention.
  20. At first blush, though, give Alphas high marks for effort and ingenuity, demonstrating a TV show needn't provide major pyrotechnics or a reinvented wheel to lay the groundwork for solid summer entertainment where the characters, somewhat refreshingly, are only sort-of super.
  21. Has the potential to be a real guilty pleasure.
  22. The show is a shrewd if not terribly exciting bet on upping the network's hip quotient without straying far from its procedural wheelhouse.
  23. Carter's dialogue is fresh without being self-conscious, and the characters are involving. Series kicks off with drive and imagination, both innovative in recent TV.
    • 61 Metascore
    • 70 Critic Score
    A sound drama that does for father-son relationships what "Gilmore Girls" does for the women of the family. As quirky as it is comfortable. [16 Sept 2002, p.45]
    • Variety
  24. While Liz & Dick is wobbly at times, the movie ultimately stands on its own.
  25. While watching the show isn’t particularly enjoyable, once drawn into Stevens’ story, it’s also difficult to turn away.
  26. 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.
  27. 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.
  28. What emerges is surprisingly compelling, if decidedly constricted take on the singer’s life, focusing squarely on her relationship with Bobby Brown, and ending well before her untimely death at age 48.

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