Variety's Scores

For 1,591 reviews, this publication has graded:
  • 35% higher than the average critic
  • 3% same as the average critic
  • 62% 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: 57
Highest review score: 100 Gideon's Crossing: Season 1
Lowest review score: 10 The Showbiz Show with David Spade: Season 1
Score distribution:
  1. Mixed: 0 out of 622
  2. Negative: 0 out of 622
622 tv reviews
  1. 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.
  2. While the climax isn't entirely satisfying, Pillars does create strong roles for its female characters, Natalia Woerner's earthy Ellen and Atwell's determined ingenue balancing Parish's delicious wickedness. Frankly, the whole exercise would be worth the price of admission (or rather, subscription) simply for the cobra-eyed McShane.
  3. The pilot rumbles forward on crisp action and light-hearted humor, while hinting at higher stakes that offer room for narrative growth. While easily dismissed as another "Alias" (like Jennifer Garner, Perabo can do wonderful things to a simple skirt and heels), the show also makes clever use of Walker's newbie status.
  4. Nothing here is especially groundbreaking. But Bloodline smartly dives into its soapy doings with multiple plots, as well as an impressive acting roster.
  5. Mostly, Judge has an unerring ear for pop culture and outright stupidity.
  6. The pilot represents a polished product that neatly introduces an array of characters and establishes Eastwick as a project with no small measure of potential. As for how well that's realized, as they say, the devil is in the details.
  7. Inevitably, there’s some overlap (“The Mary Tyler Moore Show” is cited in both of these first two hours), but Makers offers an evenhanded look at the barriers women have faced, while celebrating the accomplishments of those pioneers who have overcome them.
  8. While In Treatment isn't perfect by any means, given its uneven start and improbable origins, it's as good as anything with two characters yammering probably has a right to be.
  9. Those who love it aren't likely to get that itch scratched anywhere else. Like jazz, though, that's a relatively narrow audience, one that Simon--perhaps even more so than in "The Wire" and "Generation Kill"--has chosen, for better and worse, to uncompromisingly serve.
  10. A scabrous, profane and darkly funny satire.
  11. [It manages] to be extremely entertaining, packed with amusing details and highly relevant to today's politics.
  12. Granted, given much thought, the show's various conceits risk crumbling the way Dracula did when he was exposed to daylight. With a little patience and forgiveness, however, Being Human remains a bloody good time.
  13. Sleepless in America, more than most National Geographic fare, makes a pretty solid case for finding the time to watch, even if that requires staying up past one’s bedtime.
  14. I Just Want My Pants Back is easily the channel's best effort since plunging into the scripted business, a smart and funny look at a group adept at orchestrating hookups but with few genuine connections.
  15. Hunted doesn’t offer any rays of hope or notes of comfort. The film merely places its lens on a situation that, for those enduring it, must feel like a dystopian nightmare, and for those watching it, provides yet another disheartening glimpse of cruelty masquerading as righteousness.
  16. In a relatively short amount of time, A Good Job (a reference to a really serious fire) manages to be by turns touching and funny, capturing the camaraderie of firefighters--including the colorful hazing that’s part of hanging around in a firehouse all day--as well as the way danger and death become ever-present handmaidens of the work.
  17. Kitchen Nightmares is shockingly good storytelling and hilarious. This may be the most compelling show of the new season
  18. Breathless is a pretty near flawless condensation of soap-opera conventions into a delicious little package.
  19. Like plots on "Hustle," "24" and "The Shield," there's a bit of incredulousness that comes with each caper. But with persuasive writing, sharp visuals and editing, as well as a steady directorial hand, "Thief" is always convincing.
  20. The Walking Dead clearly appears bigger than any of its expendable parts, and unlike those zombies, has a whole lot of life left in it.
  21. TNT's take on the classic primetime serial is exactly as it should be: Texas-sized, frothy and unwilling to settle for a double-cross when a triple can be executed.
  22. At least within Ullman's cutting overview of America, in fact, it can be reported without reservation that the "State of the Union" is strong.
  23. While light on laugh-out-loud moments, this clever half-hour earns the gold in the category of "wry and bemused."
  24. Buoyed by a riveting supporting performance from Jon Voight, it’s a dense, highly organic world--at its best, playing like a present-day “Chinatown.” More often, it’s eminently entertaining, if not initially quite worthy of a spot alongside TV’s velvet-roped A-list.
  25. While the docu would have benefited from being fleshed out beyond its 40-minute running time, as is, it’s still an effective calling card for the animal-rights agenda.
  26. Based on two episodes, it’s premature to give the show an unqualified endorsement. But it does represent the kind of drama that should appeal to a sophisticated palate if the ongoing quality justifies first impressions.
  27. The League comes close to the goal of creating a TV show with "The Hangover"-type appeal.
  28. Girlfriends’ Guide is for the most part a pleasure, and unlike a lot of the network’s series, there’s nothing guilty about that.
  29. With the larger narrative diminished, what remains are the smaller moments. There Hall's terrific performance--full of sly wit and contradictions--elevates the show
  30. What makes it work beyond the sitcom-ish sound of that, to the extent it does, is primarily the genial camaraderie between Cam and Reggie, and the genuine warmth among the characters, even when they’re sniping at each other. Give part of the credit to director Ken Whittingham, who brings a natural, unforced quality to those scenes.

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