Variety's Scores

For 2,201 reviews, this publication has graded:
  • 36% higher than the average critic
  • 4% same as the average critic
  • 60% 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: 58
Highest review score: 100 Planet Earth: Blue Planet II
Lowest review score: 0 Marvel's Inhumans: Season 1
Score distribution:
  1. Mixed: 0 out of 904
  2. Negative: 0 out of 904
904 tv reviews
  1. Granted, the women--mostly in their early 20s, and seemingly chosen to reflect every bad stereotype harbored about their demo--do their part to inspire viewers to root for those aiming to deceive them.
  2. Suffers from being a raunchfest in search of a punchline. Any punchline at all will do. [9 Sept 1996]
    • Variety
  3. Gang Related is a dense serial about loyalty and betrayal, but without enough redeeming qualities to offset its high quotient of ugliness and mayhem.
  4. Surprisingly witty...Hardly great comedy, program still has spirit and Asher and Manasseri, who are good, developing comedians. [4 Mar 1994]
    • Variety
  5. Ultimately, improv is always going to be a hit-miss proposition. But despite being inordinately literal about its hits, Riot proves too liberal with its misses.
  6. Solidly entertaining, well cast and oozing with atmosphere, it’s a shrewd genre stab for the network, albeit by hewing closer to the sort of pulpy terrain to which Starz has, er, staked a claim.
    • 29 Metascore
    • 20 Critic Score
    A profound yawner. [22 Sept 1987]
    • Variety
  7. It's all pretty lame stuff, tainted further by Mario Azzopardi's frenetic direction. The effects are seamless enough, but pretty much beside the point in a story that feels not just reheated but terminally lukewarm. The primary problem with Total Recall 2070 is that we can't work up much in the way of enthusiasm or concern for its leaden protagonists, especially when the evildoer (Mancuso) is so much more interesting. [8 March 1990, p.58]
    • Variety
  8. Steeped in gore but deprived of atmosphere, this update on the Satanic classic suffers from its contemporary setting and attendant improvements in obstetrics, while feeling closer in tone to a remake of “The Omen” than of its namesake.
  9. While The Address is laudable, based on how loudly Burns’ voice echoes across the network, this one-off amounts to little more than an understated bit of throat-clearing before the next event.
  10. Inevitably, not everything works, including some of the material devoted to Louie’s interactions with his young daughters, as he seeks to balance his standup career and parental duties. More often, though, the show is wonderfully absurd.
    • 34 Metascore
    • 60 Critic Score
    While the pilot packs a lot of story into a half-hour show, most of it is comprehensible to those who saw the movie, presumably the core audience for the TV series. Although many of the actors have a tough act to follow, particularly McMurray in the Tom Hanks role, the performances are good, with slick-talking Lovitz a standout. [12 Apr 1993]
    • Variety
  11. It's fly-on-the-wall moviemaking, a must-see for anyone hoping to break into the creative side of the film business. [30 Nov 2001, p.14]
    • Variety
  12. The opening two episodes are characteristically entertaining, and snap along pretty briskly (the first is in real time), but it’s hard to escape a sense of creative malaise around all this.
  13. Like all Hallmark movies, the premise is constructed in such a way that you can see every beat telegraphed (or in this case, pre-addressed) well in advance, which serves to both make viewers feel smart and wrap them in a warm blanket of familiarity.
  14. While St. Clair and Parham play well off each other, they also affect almost the exact same comedic voice. In other words, there’s no Lucy and Ethel in this pairing, with each being a little bit of both.
  15. Everything about Last Week Tonight felt like another spin of the latenight-satire wheel, with nary a new groove in it.
  16. Adapted by Hilary Winston from the movie, the show quickly falls into a predictable pattern.... Still, taken on its own terms, the series is pretty amusing.
  17. Put it all together, and Black Box simply isn’t worth seeking out.
  18. Messy, unruly but occasionally quite funny, "Barbershop" doubtless could use a trim here and there, and perhaps a little extra styling. Yet in its unassuming way, the series breezily picks up where the movie and its sequel left off. [12 Aug 2005, p.2]
    • Variety
  19. While Salem isn’t bad, necessarily, it doesn’t conjure any magic, either.
  20. Pioneers of Television often provides less than half the story, and in some instances, that’s enough.
  21. It’s an inordinately intelligent sci-fi series in which the flaws only enhance its overall underdog appeal.
  22. Unusually Thicke is more staged than most sitcoms, and Thicke’s history as a sitcom dad (“Growing Pains”) and latenight host (honest, kids, he had his own show back before you were born) has helped him cultivate his repertoire of deadpan looks and direct-to-camera winks.
  23. The swan-song episodes (and the pay service made all 12 available in advance) is emblematic of what’s been fun about the show but also the balancing weight of what’s wrong with it, including a slightly cloying aspect to the central relationship that makes it hard to care about its outcome.
  24. Still fun on its own terms, the encore takes an unexpected little gem and transforms it into “Murder, She (and She and She and She) Wrote.”
  25. The statistics used are occasionally mind-boggling (enough forest lost every year to cover Germany), and the stars’ intense reactions at times perhaps a little too studied. Nevertheless, the producers build a compelling case, and keep the production moving by flitting among two or three separate celeb investigators in each hour.
  26. Directed by Adam Bernstein, the 90-minute premiere is particularly taut and effective, with three subsequent episodes slightly less so; nevertheless, there’s enough going on (indeed, almost too much) and such a weird string of dominos that it’s hard not to imagine those sampling the opener won’t want to see things through to the finish.
  27. Slow-going in developing its web of interconnected plots, this latest demonstration of cable's series-for-every-interest-group strategy is watchable enough, but probably not likely to be the sort of buzzworthy addiction-in-waiting Showtime would like and certainly could use. [13 Jan 2004, p.06]
    • Variety
  28. 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.

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