Variety's Scores

For 1,934 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 8 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 765
  2. Negative: 0 out of 765
765 tv reviews
  1. For the most part, however, she hasn’t shaped the comedy well enough to prevent a lot of this from feeling more like a public-service announcement than a stand-up performance.
  2. The resulting eight-part miniseries is an uneven affair, at times feeling as if it’s meandering through history en route to its frantic closing kick--a “Twilight Zone” episode, stretched and kneaded to wring more out of it, while making up the rules as it goes along.
  3. The problem, as always, is that the time-travel element can be disorienting from a narrative standpoint.
  4. Ultimately, for a show with a lot of zombie flavoring, BrainDead too often lacks bite.
  5. While the show does possess some energy thanks to the cast, there’s such a numbing sameness to the gags.
  6. Undercovers has its moments, but the show itself in some respects mirrors the initial problem with the central duo's relationship--comfortable, perhaps, but failing to spark the kind of passion necessary to elicit fidelity from viewers.
  7. For the most part, the actors chosen do a reasonably laudable job of looking real, but there are also pregnant pauses and exaggerated reaction shots where they hit the inaudible rim shots a bit too hard.
  8. Touch has its "We Are the World" heart in the right place. But like another song says, we don't need another "Heroes."
  9. While the diverse mix of characters could work to the program's advantage over the long haul, jumping to and fro among them creates a diluted, herky-jerky ride in the early going.
  10. Mostly, it’s a dutiful but nothing-new account of the ultimate anti-feminist icon.
  11. Perception feels like an entry-level course, and isn't nearly as cerebral as it pretends to be.
  12. Baker does possess a certain roguish charm, and writer Bruno Heller ("Rome") and pilot-directing guru David Nutter mine that--as well as the central character's slightly menacing backstory--to try and invest the series with a bit of depth, mostly to little avail.
  13. Simply put, though, the audience’s sophistication goes beyond the structure of And the Oscar Goes to...., which, for a project about the movie business, suffers from a fundamental and rather glaring flaw: It lacks focus.
  14. Simply being cryptic, though, doesn’t really advance the story, and at a some point, as hypnotic as all those snowy backdrops are, it’s easy to grow impatient with the assiduous, disjointed nature of the plotting.
  15. The structure of the movie compels the two to operate without much in the way of backup singers, and the story casts June as such a noble, one-dimensional spirit, it doesn’t so much end as simply run out the clock. That said, some will no doubt be satisfied just to soak in the atmosphere and the music.
  16. While the show has its heart in the right place, it still feels like there are a dozen versions of this on Bravo and Discovery.
  17. The result is so-so as both history and drama, a series with moments of power, but also occasional lapses into Civil War-era cliches. Progressing along a serialized path, the WGN drama contains enough suspense to pull viewers through four previewed episodes, without yet demonstrating whether it can stay on track through a 10-episode run.
  18. This kind of series still requires a deft touch, even with the expanded license FX offers to explore sexual situations more frankly than in the broadcast realm. It’s to Greer’s credit, moreover, that she manages to make Lina more fleshed out than just a tiresome scold, since this portrait of Married life tilts heavily toward Russ’ perspective.
  19. It’s a respectable but chilly effort, fine for those who choose to invest the time but hardly a loss should one turn a blind eye.
  20. It all makes for an intriguing setup that doesn't quite gel, even by the end of the third episode.
  21. The show mimics an indie-film sensibility, with each of the leads conveying just enough vulnerability to offset their odious ways, although it’s not clear that’s enough--especially with the duo essentially being the entire show. (His roommate, her friend and the kid neighbor all feel more like devices than characters.)
  22. Harmless as it is, The Michael J. Fox Show remains a pretty thin concoction, built heavily around the appeal of its leading man.
  23. While there are intriguing anecdotes and stories scattered throughout the chapters made available, anyone reasonably well versed in African-American history will have to wade through plenty of padding to find the highlights.
  24. Wildly uneven.
  25. While the show's vision encompasses a touch more character than the average procedural, this latest case of the NYPD blues is hardly a reason to start spreading the news.
  26. American Gothic eventually reveals itself to be a pedestrian murder mystery that slowly dies on the vine for want of interesting characters.
  27. This is not a show that is particularly original; every twist is a cliché, and every character is playing to type. But with so many well-worn at play, Dead of Summer makes for a schlocky hour that never quite gets boring.
  28. Ballers isn’t savvy enough about its subject matter to leave a mark. Sure, it’s easy enough to watch, but almost wholly inconsequential, and forgotten as soon as the final gun sounds.
  29. Directed by Mikael Salomon from Masius' script, the debut hour proves busy but not particularly distinctive.
  30. Season two yields modest improvement thanks to shrewd cast additions, augmenting the pleasures of Julia Louis-Dreyfus.

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