Variety's Scores

For 1,468 reviews, this publication has graded:
  • 36% higher than the average critic
  • 3% 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: 56
Highest review score: 100 The Wire: Season 3
Lowest review score: 10 The Hills: Season 1
Score distribution:
  1. Mixed: 0 out of 568
  2. Negative: 0 out of 568
568 tv reviews
    • 89 Metascore
    • 90 Critic Score
    With faith in its own inspired goofiness, the net's newest Sunday entry reinvents what works --- and mocks what doesn't --- within the confines of the undernourished sitcom world. Critics and viewers clamoring for something unique since the sesh began back in August finally have something to champion ... and boy, is it funny.
    • Variety
  1. A member of the top of the class of the fall season. Offering more comedy than drama, the show is quirky, with feel-good sentiments lingering beneath clever writing. [6 Oct 2000, p.24]
    • Variety
    • 72 Metascore
    • 90 Critic Score
    With this thrilling trip around the world, CBS blows away the Summer of Rats --- thank you "Fear Factor" --- while creating a terrific companion piece to the net's comparatively tranquil "Survivor." [3 Sep 2001]
    • Variety
  2. As animation, it's substandard, primitive dreck; as comedy, however, it's gloriously subversive art. [12 Aug 1997]
    • Variety
    • 66 Metascore
    • 90 Critic Score
    A compelling, immensely interesting and thoroughly addicting 30 minutes of television. [21 May 1992]
    • Variety
  3. No one has created a funnier TV character this fall. ... While the first four shows have their fair amounts of laugh-out-loud moments, each ends on an enormous knee-splitter; it's a show viewers will remember the following day and likely laugh at even harder than they did the first time. [12 Oct 2000]
    • Variety
    • 79 Metascore
    • 90 Critic Score
    Gets off to a spectacular start. [19 Sep 1994]
    • Variety
    • 88 Metascore
    • 90 Critic Score
    Wonderfully irreverent. [6 Jan 2000]
    • Variety
    • 91 Metascore
    • 90 Critic Score
    It's a clever melding of real-life and on-camera stuff that's down and dirty and diabolic in its intent. ... An absolute gem. [14 Aug 1992]
    • Variety
  4. "The Larry Sanders Show" returns for another season with a full barrel, taking exact aim at backstage eccentricities, connivances and weaknesses. [20 Jun 1994]
    • Variety
  5. There have been many great war films, and any number that have vividly evoked the tension, tragedy and terror of battle. But due to the exceptional amount of time lavished on this story, the fluid manner in which men come and go and the drastic changes that mark them, it's doubtful that any film or TV venture has ever come close to "Brothers" in presenting "What Men Went Through" over the long haul. [4 Sept 2001, p.6]
    • Variety
  6. Despair and hopelessness form the intersection at which Charles Dutton studies a drug-addled world that's painfully real and overwhelming. [17 Apr 2000, p.37]
    • Variety
  7. Deadwood will never be everyone's cup of tea, but it stands as one of HBO's most fully realized dramas since "The Sopranos" and exhibits no signs of fading in the second leg of its run. [3 Mar 2005, p.4]
    • Variety
  8. Mostly, the show deserves to do well because it’s so bloody good--smart, whimsical and occasionally laugh-out-loud funny, finding fresh, distinctive avenues into this venerable character, even with multiple incarnations currently in circulation.
  9. One of TV's premiere dramas --- a rarity whose darkest moments have a way of lingering in the mind. Such depth and humanity might be unexpected from a show that clearly revels in every four-letter word and exposed cheek, yet as the series so often demonstrates, appearances can be deceiving. [22 June 2004, p.10]
    • Variety
  10. There’s always the risk that series creator Ryan Murphy and his team will slip and hit an artery, but so far, things look beautiful.
  11. 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.
  12. The translation from stage to screen also yields speeches that probably played better live, although the director has for the most part opened up the Tony-winning material into movie form. In its totality, this represents a powerful piece of work.
  13. Series creator Ray McKinnon manages to incorporate various elements associated with serialized drama into the narrative (such as the local sheriff, played by J.D. Evermore, investigating the beating), while infusing the show with poetic qualities, aided immeasurably by Young’s exquisite, tightly coiled performance.
  14. Maximum Bob is like a consciousness-expanding narcotic transferred to film stock. If it's sometimes too taken with its own sense of wacky, it surely deserves kudos for putting out the effort at all. [3 Aug 1998, p.04]
    • Variety
    • 61 Metascore
    • 90 Critic Score
    A sly, sweet look at high school, “Life as We Know It” is so good that you immediately make room on your shelf for the cult-fave DVD because you know this is the kind of show that gets canceled after five episodes.
  15. For those who have studied the Roosevelts, many of the stories will be familiar. But the beauty of the writing (“No other American family has ever touched so many lives”) and eye-opening video nevertheless make much of this feel fresh.
  16. "My Name Is Earl" isn't the best comedy around, but it's pretty darn good.
  17. 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."
  18. "The Daily Show" spinoff has gotten off to an impressive start with a topnotch premiere followed by a respectable second outing that underscores just how challenging it will be to sustain this half-hour high-wire act four nights a week.
  19. Has the sharpness of the recent remakes of "Italian Job" and "Ocean's Eleven."
  20. Captivating.
  21. One of the best conventional half-hours to come along in a while.
  22. 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.
  23. Somewhat plodding through its opening hour, "Elizabeth I" gains steam and then soars through its concluding installment.

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