Variety's Scores

For 1,330 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 8.5 points lower than other critics. (0-100 point scale)
Average TV Show review score: 56
Highest review score: 100 Curb Your Enthusiasm: Season 3
Lowest review score: 10 Dirt: Season 1
Score distribution:
  1. Mixed: 0 out of 525
  2. Negative: 0 out of 525
525 tv reviews
  1. While the premise might appear to be plumbing some of the same culture-clash depths as FX’s “The Bridge,” in other words, it mostly settles for being an old-fashioned procedural.
  2. While there’s a fairly dense mythology here, as adapted by Daegan Fryklind Bitten feels stitched together from pieces of werewolf tales of yore--undermined, in terms of casting its own spell, by TV’s familiar version of a pack mentality.
  3. Fleming works only fitfully, despite conjuring an impeccable period look and feel filming in a trio of locales.
  4. Chow’s flat direction does little to elevate the action beyond the level of staged reading. It’s hard to fault the actors, although Graham seems unfortunately miscast in a role that requires a degree of coldblooded cunning she’s simply too sweet to pull off. Shipka radiates natural intelligence and poise.
  5. Oddly constructed, Lifetime’s latest attempt to produce TV movies with more edge isn’t exactly razor-sharp, but strictly based on its camp factor, Lizzie should get the job done.
  6. 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.
  7. For all his skills as a performer, though, Fallon is still a question mark in terms of his ability to make magic out of nothing at the desk, the place where Johnny Carson and David Letterman thrived--and endured. And frankly, his “Aw shucks, I’m just so happy to be here” posture in Monday’s maiden interviews with Smith and U2 got a little tedious even before the night was over.
  8. Despite the considerable craft that has gone into creating a world designed to take on a life of its own, it’s difficult to see how the serialized narrative can run much longer without beginning to muck up its own Hitchcockian mythology.
  9. The series isn’t bad, but it would have been so much more interesting if instead of just watching Forrest run, we had a better grasp of what makes him tick.
  10. Despite some beautiful images--starting with bright blue butterflies--Believe has the makings of a very old-fashioned procedural, with Tate and Bo destined to journey from place to place changing the lives of those she meets with her cryptic insights while staying one step ahead from those who would capture her.
  11. While the filmmakers conjure plenty of big-shouldered moments, Chicagoland--the name notwithstanding--doesn’t establish itself as much of a TV destination.
  12. Not surprisingly, there’s lots of boastful bravado and sniping, but even a smidgen of originality, alas, isn’t part of the floor plan.
  13. In this digital age, it’s nice to see the Muppet-maker still hiring, but there’s simply nothing special enough about this Challenge to warrant another show the next time there’s an opening; better instead to go through plain old human-resource channels.
    • 47 Metascore
    • 40 Critic Score
    What you get for the most part is a "thirtysomething" minus the years, the wit, the plot complexities and the rapport between ensemble members. [8 July 1992]
    • 51 Metascore
    • 40 Critic Score
    There's not a lot of originality being shown here, which is distressing to see in an initial effort that's so glacially paced. The audience literally knows what's coming and is forced to wait for the conclusion for the scenario to come to fruition.
  14. Funny in parts, overlong and out of steam in some taped bits and generally very inside in the humor department. Late night's a good spot for it, but the push for cult appeal in this six-seg series feels forced. [20 Feb 2003, p.10]
  15. Unfortunately, Allison is such a passive heroine that it's hard to get too involved with her, and Arquette doesn't bring much life to the role. Moreover, the episodes made available are virtually devoid of supporting players or any workplace tension to augment her relatively staid (by TV standards, anyway) home life. [3 Jan 2005]
  16. [The pilot] works a little too hard at establishing a fun-loving, "Swingers""Swingers"-type tone, though at least that represents something of an alternative to "CSI: NY" and ABC's new procedural "The Evidence."
  17. A perfectly serviceable if not particularly inspired bumper.
  18. Despite nice touches in writer-director-exec producer Rod LurieRod Lurie's handsome-looking pilot, there's also a smothering stiffness to it, including Geena Davis' performance as the first female president.
  19. It's hard to escape the sense we're watching the bastard child of the union between "Shark" and "House."
  20. Given how familiar the premise is, the show's modest appeal hinges entirely on the cast's marginal chemistry and the rapid-fire jokes, making for at best a hit-miss proposition.
  21. Like a test-tube baby, "Inconceivable" has the feeling of a series birthed less by passion than clinical precision.
  22. Deschanel comes off a little too much like a sorority girl rather than a scientist with missing-parent issues.
  23. Most of the beats suffer from a been-there quality, and there's a glut of interlocking storylines that might be less of an issue, admittedly, if two or three really merited attention.
  24. Credit the veteran cast with making the series barely tolerable, but for the most part "Crumbs" is pretty crummy, the sitcom deconstructed to its most primordial form.
  25. As a director, Nigel Lythgoe works the judge's reaction shots, often forgetting wallflowers enjoy watching the dancers, not other wallflowers. [22 Jul 2005]
  26. The final leg proves something of a letdown.
  27. It's tough to get an audience to care for any of the players in a show that's just 30 minutes long.
  28. A sly, cleverly understated concept -- for about three minutes. Stretched to a half-hour, it's a tedious exercise.