Variety's Scores

For 1,796 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 The Office (UK): Season 2
Lowest review score: 10 The Bachelor: Season 1
Score distribution:
  1. Mixed: 0 out of 702
  2. Negative: 0 out of 702
702 tv reviews
  1. That's not a bad starting point for beginners, maybe, but this "History of Hollywood" feels a little ho-hum for those TCM viewers craving a more advanced course.
    • Variety
  2. So as starts go, this one picks up speed, but still feels a little rocky. That said, there’s enough here to want to hang around for a spell, waiting to see whether this crew can find its sea legs--and what dangers lurk just over the horizon.
  3. The biblical setting provides an arresting backdrop for soapy material that otherwise falls squarely in Lifetime’s wheelhouse.
  4. At first blush, anyway, Californication isn't necessarily a bad place to be, but unless the series finds viable avenues to pursue beyond wallowing in Hank's self-pity, it'll be Showtime subscribers before long who wind up feeling screwed.
  5. It's pleasant enough, but has the potential to stand out only in the manner and pace at which Connie and Larry unspool, without the fairy-tale sparks enjoyed by Ben and Kate.
  6. Luck--for all its quirky exchanges and marquee performers--proves at best a photo finish as to whether it's worth the effort.
  7. As usual, Ray’s ex-con dad Mickey (Jon Voight) steals much of the show.... Because Schreiber’s character is so brooding and emotionally clenched, though, the series heavily relies on its supporting players and guest stars, which is where the opening salvo feels relatively malnourished.
  8. The truth is once you've moved beyond the set-up, the only real moment that counts is the inevitable reunion, when the women return and the men, presumably, tell them just how much they were missed and how indispensable they are.
  9. "Close to Home" lives up and down to its title -- staying very close to what's worked for CBS before.
  10. Given the number of dunderheaded pundits holding forth nightly, Lebowitz does feel like a throwback to a wittier era. That said, Scorsese could have gotten his point across in a third less time--as Public Speaking demonstrates, twice over, how even ballsy Manhattan artist types can benefit from an editor's touch.
  11. Ultimately, there’s more ambition in the concept than ingenuity in the execution.
  12. They're colorful, yes, but as such concepts pile upon each other, the effect is less ennobling that enervating.
  13. '24' isn't getting off to the spectacular start that it did in its debut season when the focus was singular and clear-cut. [29 Oct 2002]
    • Variety
  14. What ensues is pretty typical of the genre, but it’s still kind of a risible kick, if only for how seriously the show takes itself.
  15. At its best The Sixties is admirable, but to riff on an old promotional slogan, it isn’t all that it could be: Yes, it’s an exercise that might capture the magic of landing on the moon, but doesn’t take the extra step that would send viewers over it.
    • 55 Metascore
    • 60 Critic Score
    Granted, the lack of punchless punchlines was a welcome change of pace, but the canned self-introductions that replaced them were jarring in terms of pacing -- not to mention the awkwardness of the blatant self-referencing involved.
  16. The show's ethereal qualities are interesting in places but never particularly enlightening.
  17. The episodes are certainly watchable, but as constructed by writer-producers Josh Appelbaum, Andre Nemec and Scott Rosenberg, the train also takes its time getting out of the station.
  18. It's a show for a very narrow slice of the channel's subscribers.
  19. The first two episodes (both directed by Olatunde Osunsanmi) contain bountiful helpings of action, as well as the war-movie cliches that have been part of the program’s formula since the beginning.
  20. All told, the premiere isn’t a bad step in that direction [recapture its early days while establishing new threads to reach beyond that core], but it’s unclear whether enough untapped power resides in the premise to ensure that the series can save itself, much less the world.
  21. While Agent X opens on a lighter note, the show begins drifting toward a perhaps too-familiar framework--with a shadowy cabal threatening to upset the established order--in the third and fourth hours, which reflect a qualitative dip compared with the premiere. That said, the action remains solid throughout, and the material is elevated by the casting.
  22. This dark biker-gang drama certainly has its share of fans, but held up against the larger pantheon of cable dramas--including some of FX's recent and upcoming additions--Sons emulates its ride: Plenty noisy, but a relatively low-octane vehicle.
  23. The show has already received considerable acclaim in the U.K. (including the 2008 British Comedy Award), a level of praise that seems a bit generous; still, in the long continuum of teen comedies, "Inbetweeners" does qualitatively register toward the high end of the scale.
  24. The Honorable Woman certainly doesn’t evoke any enmity. The problem, rather, is that it doesn’t provide enough thrills or momentum to completely reward the viewing commitment of its friends.
  25. A child's quizzical utterance near the end of "Invasion" provides enough of a chill to warrant a return visit to what's otherwise a mildly intriguing pilot.
  26. A solid cast and marquee auspices make this effects-heavy exercise watchable enough even when "The Triangle" grows obtuse.
  27. Both undeniably clever and utterly bizarre --- not always for the better. [28 Jan 1999]
    • Variety
  28. The resulting half-hour offered a breezy, inexpensive approach to comedy that brought to mind the panel shows of yesteryear.
  29. The nice part about Louie is that its loose structure creates ample possibilities, while its grainy vision of New York approximates the feel of an independent film. For all that, the laughs come only intermittently, and the sequences of our hapless hero doing stand-up are generally superior to his limitations as an actor.

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