Variety's Scores

For 1,451 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 Gideon's Crossing: Season 1
Lowest review score: 10 Modern Men: Season 1
Score distribution:
  1. Mixed: 0 out of 562
  2. Negative: 0 out of 562
562 tv reviews
  1. Baio doesn't do much to elevate the limp material, but he doesn't sink it either.
  2. This is really just a protracted, more explicit (virtually a prerequisite, given the venue) "Mission: Impossible," spreading its caper across multiple episodes. Yet even with bursts of bloodshed, Hunted bogs down in the episodes previewed.
  3. More like great water-cooler gossip than actual true-crime material, the self-deprecating humor helps but doesn't exactly distinguish the series from other examples of this genre.
  4. Jungle Gold uses every available editing trick to heighten the tension and get the audience rooting for Scott and George, but the approach is so steeped in xenophobia and Great White Hunter short-hand this might as well have been made in the 1930s.
  5. The show doesn't feel authentic enough to be convincing, nor silly enough to rise to the level of worthwhile sitcom.
  6. As a whole, the project cries out for the voices of third-party historians--or at least some voice, beyond the grainy newsreel footage and dramatic readings by actors, other than Stone's.
  7. The series doesn't generate nearly enough highlights to merit a filibuster-proof yea vote, much less a ticker-tape parade.
  8. The show has some unorthodox elements, but feels fairly cliched in most of its beats, largely serving as an excuse for bouts of grisly violence and gratuitous sex.
  9. The '80s setting does allow the show to be more frank in tackling issues like sex and drugs, but other than that, the premiere deals in typical teenage girl stuff, the sort one can find in any number of ABC Family shows.
  10. Former "Revenge of the Nerds" stars Carradine and Armstrong (who helped develop the concept) do appear to have fun, but after the opening kick of seeing them reunited in this fashion, even that begins to yield diminishing returns.
  11. While The Taste certainly works hard to foster a sense of excitement and tickle the palate, this appetizer feels like just the latest half-baked competition idea that doesn't deliver.
  12. Created by David Schulner, the series has done itself a disservice by hewing away from the fantastic and toward the mundane.
  13. Ultimately, though, the story boils down to its central love triangle, with the sides stretching out a little too long as viewers wait for Tietjens to return home and choose whether to pursue happiness and risk public humiliation, or remain in his shattered and unhappy marriage.
  14. All told, there's enough here to stick around a little while, but this is one of those premises almost designed to strain plausibility over time.
  15. To their credit, the producers do keep things interesting, for the most part without resorting to the cheap tricks that have characterized the vastly overrated “American Horror Story.” Nevertheless, the premise becomes its own creative prison, fostering a hurry-up-and-wait attitude as the story metes out its examples of the things that make this duo, well, different.
  16. Even if you’re skeptical about the carefully massaged drama, it’s hard not to admire a single show so meticulously accessorized with that many commercial points of entry.
  17. Single and in their 30s, each is a distinct blend of guile, guts and needfulness, traipsing through the dating world with predictable and even trite results, their chatter constantly hitting on sex, relationships and sex. Some good acting and some nicely shot romantic interludes provide some redemption for the series, but scripts need to loosen up and inherit some of the playfulness the actresses bring to their roles. [3 June 1998]
    • Variety
  18. Season two yields modest improvement thanks to shrewd cast additions, augmenting the pleasures of Julia Louis-Dreyfus.
  19. Jackie remains watchable thanks primarily to Falco, although the best moments are almost invariably dramatic, not humorous.
  20. These hours rely on devices like seeing dead people, while detouring from the central character’s selfless concern about her family to explore subplots that are, almost without exception, relentlessly ordinary. It’s a shame, since Linney still delivers compelling moments.
  21. 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
  22. Guest’s approach is as much about creating atmosphere and fostering discomfort as it is about belly laughs, but there’s a difference between being droll and positively arid.
  23. It’s only too bad the writers (Carter Bays, Craig Thomas, Chris Harris) don’t start by grounding their charges with a little more humanity; instead, the trio proves so mismatched and exaggerated as to have a very long way to reach any sort of common ground.
  24. 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
  25. Diminished expectations might be the best thing the program has going for it, though if forced to commit, it’s at best a “hold” recommendation.
  26. The structure of the movie compels the two to operate without much in the way of backup singers, and the story casts June as such a noble, one-dimensional spirit, it doesn’t so much end as simply run out the clock. That said, some will no doubt be satisfied just to soak in the atmosphere and the music.
  27. Brooklyn DA does provide some behind-the-curtain looks at the legal process (including a superior helping a young attorney massage and strengthen her opening statement for court), but for any regular viewer of TV legal dramas, there’s not a lot here you haven’t seen before, in one form or another.
  28. Arrested Development’s long-awaited encore is like a lot of TV development--namely, an interesting idea that was more exciting on paper.
  29. Polo and Saum are good actresses, but they appear pretty well hamstrung in their initial scenes together, as Stef and Lena banter about not taking in more stray kids, prompting Stef to quip, "We are not 'The Brady Bunch.'" Take away a few elements, though, and they sort of are.
  30. While everything here is reasonably compatible with lead-in “Burn Notice,” the few high notes ultimately can’t disguise how ordinary a visit to Graceland feels.

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