Variety's Scores

For 1,641 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 8.3 points lower than other critics. (0-100 point scale)
Average TV Show review score: 57
Highest review score: 100 The Larry Sanders Show: Season 6
Lowest review score: 10 The Bachelor: Season 1
Score distribution:
  1. Mixed: 0 out of 643
  2. Negative: 0 out of 643
643 tv reviews
  1. Lone Star works as well as it does in large part by keeping an audience on edge regarding these questions [Could he possibly go legit, actually running the company, becoming a tycoon and settling down? And how long can he maintain the charade?]--and because Wolk manages to make Bob so appealing. As distasteful as his game is, you're half rooting for him to get away with it.
  2. While the characters here haven't yet had the chance to become as interesting as Carrie Bradshaw and company, this great adaptation of Gigi Levangie Grazer's story should help fill the void left by "Sex and the City."
  3. It’s a showcase for Tyson.
  4. Has the sharpness of the recent remakes of "Italian Job" and "Ocean's Eleven."
  5. Blue Bloods enters this rough neighborhood with the right personnel, and, living up to its name, a solid pedigree.
  6. Series creator Alan Ball and company have assembled a solid ensemble and instilled such a cheeky attitude the show remains great fun, and clearly benefits from being back on a better-directed course.
  7. NBC's stab at a big, serialized "Lost"-like premise gets off to an enticing start, though as with any such exercise, the ability to provide forward momentum--and satisfying answers--tends to quickly separate the few genuine events from the canceled afterthoughts.
  8. Mind Control is much cooler than your average foray into this realm, and by whatever methods its host employs, he has pretty well convinced me to watch again
  9. The cast is so uniformly good, frankly, it’s tempting not to single anyone out, and Fellowes continues to juggle the dizzying assortment of plots with what appears to be effortless ease. That said, one can see him repeating himself in some of the flourishes as the season progresses.
  10. There's considerable strength in the performances (Forbes and Sexton are especially good), while delivering a reminder how TV can tease out such a narrative in a way almost no other medium can.
  11. The result self-consciously approximates the feel of a stage play--a trifle theatrical and showy, admittedly, but nevertheless oddly addictive as you wait to see how one story will bleed into the next.
  12. Gervais and Merchant excel at capturing scenes of quiet discomfort as well as palpable desperation in the face of near-constant rejection. Those qualities elevate "Extras""Extras" above the surface-deep "Entourage" or often-frustrating "The Comeback."
  13. Whatever its flaws, this edition of 24 features smart, crisp and densely woven storytelling whose subplots look to be on a well-orchestrated collision course.
  14. It's a mildly unsettling mentality, to be sure, but thus far Bad's mercurial formula adds up to one really good trip.
  15. Whatever deeper meanings one might extrapolate, the show's approach proves refreshingly unpretentious and a great deal of fun, playfully exploring the mythologies surrounding ghosts, vampires and werewolves.
  16. Terror at the Mall surely isn’t a picnic to watch. Yet in terms of enhancing understanding of the threat--and the challenge presented by those who wantonly kill and expect to die--those cameras, fixed though the images might be, zero in on the nature of the problem.
  17. The Americans picks up pretty deftly from where last season’s cliffhanger left off, while advancing that storyline at a relatively slow pace.
  18. [The Weight of the Nation is] a little flabby. Still, this multimedia endeavor delivers a powerful and important message.
  19. The takeaway from The Take again proves an old showbiz saw: Cast the right actor as a mobster, and being bad can be pretty damn good.
  20. That the show delivered so ably under the stewardship of Glen Mazzara makes season three less surprising but no less riveting, with the first couple of episodes offering a buffet of character, tension and the inevitable can-you-top-this, stomach-churning gore.
  21. The challenge, structurally, will be finding a way to keep these characters interacting (logic that already seems a bit strained in the pilot) as the incident drifts into the distance.
  22. This is the kind of meticulously handsome period piece one would expect to find via the BBC--mostly because it would surely struggle Stateside. Judged by the most bottom-line measurement of all, The Hour is an hour well spent.
  23. Gamble and Hoggart manage to strike just the right tone, sounding alternately wide-eyed and priggish, without coming across as mean-spirited--which is no small feat.
  24. There's no pulling punches, and exec producer Kevin Williamson delivers a full-throttle ride that, four episodes in, proves twisty, unpredictable and tense.
  25. About a Boy is an utterly charming pilot, and almost certainly the most endearing half-hour NBC has developed in some time.
  26. It’s bracing to see a series that has weathered offscreen changes, and all but redefined expectations for cable viewership (as reflected in its soaring ad rates), continue to take creative chances--proving it can still leap ahead not just by shuffling along, but at breakneck speed.
  27. In terms of succeeding creatively, they haven’t just tried; done it, they have.
  28. Much of what’s likable about the series stems less from the particulars than from its general tone.
  29. he come-on of the title notwithstanding very little about that is groundbreaking, or even surprising. But it is, almost without exception, highly watchable and entertaining.
  30. While enthusiasts of the genre might warm to the idea of an open-ended mystery, it's suspect how well the show will hold up without a more concrete sense as to what's really happening, barring Gilligan and the Skipper showing up to whisk them away.

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