Variety's Scores

For 1,543 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 points lower than other critics. (0-100 point scale)
Average TV Show review score: 56
Highest review score: 100 Five
Lowest review score: 10 Standoff: Season 1
Score distribution:
  1. Mixed: 0 out of 601
  2. Negative: 0 out of 601
601 tv reviews
  1. Still fun on its own terms, the encore takes an unexpected little gem and transforms it into “Murder, She (and She and She and She) Wrote.”
  2. Adapted by Hilary Winston from the movie, the show quickly falls into a predictable pattern.... Still, taken on its own terms, the series is pretty amusing.
  3. Everything about Last Week Tonight felt like another spin of the latenight-satire wheel, with nary a new groove in it.
  4. While St. Clair and Parham play well off each other, they also affect almost the exact same comedic voice. In other words, there’s no Lucy and Ethel in this pairing, with each being a little bit of both.
    • 34 Metascore
    • 60 Critic Score
    While the pilot packs a lot of story into a half-hour show, most of it is comprehensible to those who saw the movie, presumably the core audience for the TV series. Although many of the actors have a tough act to follow, particularly McMurray in the Tom Hanks role, the performances are good, with slick-talking Lovitz a standout. [12 Apr 1993]
    • Variety
  5. While The Address is laudable, based on how loudly Burns’ voice echoes across the network, this one-off amounts to little more than an understated bit of throat-clearing before the next event.
  6. Created by Barbara Hall, Madam Secretary has enough interesting pieces, as well as a great big world of trouble to mine, to have significant potential. The premiere, however, doesn’t bode particularly well for being able to maximize those assets, and as they say in diplomatic circles, the devil is in the details.
  7. There are certainly enough moving parts here (pardon the expression) to merit further attention, but there’s also a feeling that the whole thing is running in mud (or at least sand).
    • 50 Metascore
    • 60 Critic Score
    Show is cast better than it deserves, with Williams gamely in for film's Susan Sarandon, Polly Holliday nicely restrained as Momma Love and Ossie Davis noble as the friendly judge who pops up all over the place. [15 Sept 1995]
    • Variety
  8. 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.
  9. It ain't bad by basic cable standards. That is to say, Langton is a poised female lead, sufficiently alluring to make you forget the fact that what's going on is all pretty implausible. [13 July 1998, p.34]
    • Variety
  10. 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.
  11. While this latest version of the show remains above that sometimes-toxic mix [stories of missing women, murderous husbands (or did he?) and obviously staged moral dilemmas], these hours prove that it is not, alas, immune to its influence.
  12. Aside from the coup of landing Berry--a woman, apparently, irresistible to sentient life throughout the galaxy--the show’s strong cast hints at more promise than the premiere ultimately exhibits, racing as it does to establish a foundation for what’s to come.
  13. As derivative as it is, Seed is perfectly harmless, and might even deliver an occasional smile. Yet even with the Harry-Rose relationship offering a small serialized thread, it’s just hard to see any part of Seed ever developing into much.
  14. Ultimately, there’s more ambition in the concept than ingenuity in the execution.
  15. 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.
  16. The Quest doesn’t entirely dodge the obvious potential for cheese, but the surprisingly impressive production values help keep things on the right side of ridiculous.
  17. Manhattan certainly isn’t a bomb creatively speaking, nor is it yet the bomb, in latter-day vernacular. And perhaps appropriately, as admirable as some of its elements are, what’s missing in the opening hours is the elusive spark necessary to make them genuinely pop.
  18. To its credit, Legends goes a bit beyond the expected stings, as a shadowy figure prompts Martin to doubt everything he knows and question whom he can trust. For the most part, though, almost everything here feels culled from earlier variations on this theme.
  19. Perhaps inevitably, with so much going on, the law students sort of blend together in the pilot (a few weeks after watching the premiere, it was difficult to remember who did what), while Davis’ scenes quickly expose sides of Keating that suggest there’s far more to her than meets the eye.
  20. The series--adapted by Anya Epstein and Dan Futterman, with a premiere written by “Broadchurch” creator Chris Chibnall--is competently executed.... Yet while it’s hard to pinpoint, Gracepoint can’t help but feel as if something significant has been lost in translation.
  21. Such extremes are out there, and the series is riveting in a way, if slightly uncomfortable when contemplating that the kids have been innocently drawn into an entertainment that invariably sets up their parents as objects of curiosity and derision.
  22. If it’s a flawed exploration of the old nature-vs.-nurture debate, the players and Mei’s predicament consistently make it interesting.
  23. Ultimately, there’s enough meat here to engender morbid curiosity on where Valerie’s latest journey back into the maw of the beast will lead. Other than a rarefied slice of media mavens and those few aforementioned devotees, though, to borrow Valerie’s early catchphrase in assessing this latest Comeback, I’m not sure you need to see that.
  24. A preview of the first two parts of what the channel is billing as a “miniseries event” yields some insight regarding the historical and cultural relationships between man and food without doing enough to whet the appetite for additional courses.
  25. The biblical setting provides an arresting backdrop for soapy material that otherwise falls squarely in Lifetime’s wheelhouse.
  26. But more often than not CSI isn't sure if it's trying to be intellectual or just sensational. John M. Keane's heavy-handed music, inversely proportional to the events onscreen, doesn't help. Subsequent episodes would do better to pull back on attention-grabbing stunts in favor of the mystery and drama that lies at the core of this premise. [4 Oct 2000, p.2]
    • Variety
  27. A bleak, agonizingly downbeat and occasionally over-stylized vision of prison existence. It's about as pretty as a decaying corpse, and there is no one to root for. [11 July 1997]
    • Variety
  28. Although the program has never wasted much time developing characters, the banter between detectives Lupo (Jeremy Sisto) and Bernard (Anthony Anderson) seems even more disposable than usual.

Top Trailers