Zap2it (Inside the Box)'s Scores

  • TV
For 174 reviews, this publication has graded:
  • 60% higher than the average critic
  • 2% same as the average critic
  • 38% lower than the average critic
On average, this publication grades 1 point lower than other critics. (0-100 point scale)
Average TV Show review score: 63
Highest review score: 100 Boardwalk Empire: Season 1
Lowest review score: 0 Work It : Season 1
Score distribution:
  1. Positive: 98 out of 98
  2. Mixed: 0 out of 98
  3. Negative: 0 out of 98
98 tv reviews
  1. While the show is clearly still finding its footing, there looks to be enough raw material there to make Perfect Couples, if not an instantly vital cog in NBC's Thursday comedy lineup, at least a reason to stay put between "Community" and "The Office."
  2. Whether you like it or not depends on your ability to leap with the show. We won't lie, though. While the pilot is well-executed, once we get into hour two of NBC's planned two hour premiere, we got the feeling that this may be too much of a good thing in one sitting.
  3. Mad Love is not a bad show, but, judging from its first outing, it's not immediately deserving of the caliber of actors it managed to secure for its primary quartet.
  4. The show is no better or worse than "Perfect Couples," "Mad Love" or "Traffic Light." Which is to say it's populated with likable actors and rarely out-and-out bad, but it's also never much more than mildly amusing.
    • 59 Metascore
    • 60 Critic Score
    The pilot was extremely plot-heavy, so we've got our fingers crossed that future episodes will tone down the action and dig deeper into the characters.
    • 64 Metascore
    • 60 Critic Score
    While there's definite potential in the show, there were a few things about it that just didn't work.
  5. There are parts of Hart of Dixie that need addressing. The pace lags at certain points. And some of the characters, sometimes even Bilson, are more like caricatures.
  6. No other new show this fall is attempting to tell a bigger story, and we're hoping the rough patches smooth out and it fulfills the potential that's there in its very strong cast and premise.
  7. At the end of the day, Hell on Wheels is beautifully-filmed project that offers exceptional attention to detail on everything but the main character.
  8. There's enough in the premise and the performances (particularly those of Garcia and Neill) to keep us watching, but to really hook us in Alcatraz needs to decide what kind of show it wants to be.
  9. A cool premise can only take a show so far, and there's some work to do on the character front to make the show worthy of using all available technology not to miss.
    • 37 Metascore
    • 60 Critic Score
    The pilot shows promise, especially seeing the chemistry between (at least three of) the leads, but Episode 2 treads no new sitcom ground.
  10. Where the show stumbles a little is in the case itself.
  11. It's too cringe-worthy for overempathizing animal lovers, but general audiences might tune in for lighthearted, escapist fun.
  12. The multicamera, laughtrack sitcom is completely unoriginal, the jokes are recycled and many of the characters--especially Reba's obnoxious teenage son and daughter--are underdeveloped stereotype. Still, the charismatic country star and Tomlin's droll Lillie Mae, who successfully balances her sharp tongue with surprising softness, are entertaining.
  13. The writers of Community have done a good job with what they were given. The problem is, they needed Dan Harmon.
  14. Visnjic's smooth and mysterious turn in just a handful of scenes instantly emerges as the best thing Red Widow has going for it. That's either the sign of a series with fundamental flaws, or the roots of a show that will only get better as it goes.
  15. But when a show reaches the level that Nurse Jackie did in Season 4, reverting to cruise control isn't enough--and Jackie is just coasting through its new run.
  16. The four guys at the center of the show, in addition to actually being friends before the cameras came around, are portrayed as caring, involved dads, albeit with a few sitcommy quirks.... But thinking the dads on Modern Dads are somehow unique is really not capturing the whole picture.
  17. It's trying too hard to be a "sitcom" that looks and feels straight out of 1992. The bones are there, but the execution is lacking.
  18. The premiere episode of the new series, "Always and Forever," tells pretty much the same story as the backdoor pilot, only from the point of view of Elijah (not Klaus, as before). This works on some levels but stumbles on others.
    • 54 Metascore
    • 60 Critic Score
    With so much serial killer programming on TV, like "Hannibal" and "The Following," Those Who Kill could carve out its own little place. But it's going to take some work. On the bright side, the show has Sevigny, who is the clear standout on the series.
  19. Action will only take the show so far, but eventually viewers need to care about the characters or they don't have a reason to keep watching and Chase turns into a show that gets watched as an afterthought, not as appointment viewing.
  20. OTM doesn't immediately grab us the way "Grey's" or "Private Practice" did--though the latter did suffer an admittedly rocky start. This probably has a lot to do with the fact that there seems to be a bit of an identity crisis happening here.
  21. Once you get past the idea that the bad guys are working for the good guys, it's a pretty by-the-numbers crime show.
  22. NBC is clearly aiming for a network companion to their successful "Top Chef" franchise here, but while the aesthetics and the challenges are decidedly Bravo-esque, the personalities don't ever come close.
  23. It's a not always comfortable mix of action, drama and comedy, and if it's far from the worst new series to hit the airwaves this season, it's also not at the top of the list. It's a little too middle of the road for its own good.
  24. It's a show I would really like to like, and there are elements present in the pilot that make me want to see how it's doing by, say, episode four or five, but it's not there yet.
  25. It's a fairly standard crime procedural whose hook doesn't really add much--and actually seems like it could be an obstacle further down the road.
  26. The characters aren't terribly deep and the dialog doesn't take advantage of Emerson's and Caviezel's acting chops.
  27. The biggest downfall of Enlightened is doesn't know what it wants to be. It's in no-man's land between a comedy, a drama and a satire.
  28. It still carries a decidedly throwback vibe, and the ongoing bluster about the state of manhood in the world feels, at best, two steps behind the times.
  29. Lucas is actually quite good as Mitch, as is Molly Parker as his wife, Abby. The issue lies more with the mechanics of the plot.
    • 58 Metascore
    • 50 Critic Score
    The second half of the pilot improves over the first. So there's progress.
  30. The show is pretty much a by-the-numbers cop show.
  31. The show feels like it should be better.
  32. The cast is good enough and the premise strong enough to carry it. Right now, though, Deception is a show that doesn't know what it is.
  33. Anyone looking for soapy twists and turns, shocking violence and a fast-paced ride will get what they want from creator Kevin Williamson and crew, just don't expect the show to dig deep into its characters or give you much to think about in the process.
  34. Not all the cases turn out badly, but enough do that the show takes on a rather grim formula.... That's a lot of talent to work with and the good news is that Monday Mornings shows signs of finding its voice by episode three.
  35. There's something both frustrating and fascinating about the way Showtime's classy but surprisingly dull new drama Ray Donovan aspires to greatness.
  36. It's hardly the worst show of the fall, but it never really lands.
  37. Merchant uses his gangly physicality (at 6-foot-7, he towers over everyone else on the show) to good effect in scenes when Stuart is on the make. Despite that, though, and despite the fact that Merchant is willing to make himself the butt of the joke, Hello Ladies doesn't quite pull off the trick of making Stuart someone you want to spend week after week seeing.
  38. The disconnect between what Mind Games wants to be and the show bubbling just under the surface makes it a bit of a puzzling viewing experience.
  39. The new FX drama from "Homeland" and "24" executive producer Howard Gordon balances family with politics in a show that constantly questions what the right choice is when torn between the two, but oftentimes finds itself bogged down in soap opera-style drama that distracts from the greater, more ambitious story that it's trying to tell.
  40. Despite being populated with likable actors giving mostly solid performances, it's hard to escape the feeling that you've seen this before.
  41. Well, let's hope the show gets better after the pilot episode.
  42. From shows like "Alias" to "Buffy the Vampire Slayer" to "Nikita," it has become commonplace to see hot chicks action stars. So a "Charlie's Angels" reboot has to offer something else in order to work. And it doesn't.
  43. Instead of an entertaining half-hour to ease our wait for the return of "30 Rock," the network has given us another "Outsourced."
  44. House of Lies lacks the heart of "Shameless" and Kaan lacks the likability of Duchovny's Hank Moody, which means we care very little about the characters after two episodes.
  45. Now that finished episodes are out there, we can tell you that it's not great.
  46. Just know going in that you'll be far better served by acknowledging the towering silliness of the plot, because it's just about impossible to take it seriously.
  47. While it's never as silly or artless as HBO's overpraised "Game Change," Spector is low-stakes, procedure-oriented and deliberately claustrophobic, lacking in the sort of sharply pointed dialogue one may expect from Mamet
  48. Lifetime chose to tell a by-the-numbers tale of passion gone wrong rather than the potentially compelling (if lurid) courtroom story that played out on news channels for weeks earlier this year.
  49. You might feel bad for the wine, and maybe for the hour you could have spent doing other things. You probably won't feel bad for Sara or Jack.
  50. A boring non-event.
  51. Mob City presents a sumptuous-looking period piece with remarkable attention to detail. But beyond that, it all feels a little bit overblown.
  52. Labyrinth takes way too long to hit the ground running and introduce the actual story, so part 1 is confusing and fails to get viewers to care about both the past and present storylines.
  53. The Season 4 struggle starts somewhat intriguing, but gets repetitive quick.
  54. The show is so overstuffed and dancing so fast in its effort to achieve cultdom that it forgets some basic things, like making us care about the characters in the middle of this whole mess or drawing some clear stakes for what happens.
  55. There was one laugh-out-loud moment in the premiere and that was when son Henry imitated his father and William Shatner's character remarked that no one can do a good impression of him. Otherwise it was a lot of furrowed-brow staring at the TV when the laugh track roared, wondering what the #*!! they were laughing at.
  56. As you might expect, the results are pretty offensive, but not even for their obvious racial and cultural ignorance. It's the laziness with which every element of this show was assembled that makes Outsourced such an annoying blister of a television series.
  57. For all its stylistic appeal, one sizable problem remains with Allen Gregory--it's not funny.
  58. It quickly devolves into borderline slapstick comedy that was old when the Three Stooges were doing it.
  59. There's no on-screen chemistry between Schneider and Bassols, the jokes are weak and the acting is forgettable.
    • 46 Metascore
    • 30 Critic Score
    Taken together, the monotone voices and 2D characters end up falling flat.
  60. Broad, cheap and tedious, it wouldn't have the slightest chance of cracking a major network's schedule during the regular season.
  61. Dracula is meant to be powerful and alluring, but this version of him feels stilted and withdrawn.
  62. The Cole/Price problem just continues to come across as ridiculous, rather than serious. It doesn't keep the viewer invested in the character at all.
  63. If you value your time, you'll change the channel after "Modern Family."
  64. Liz & Dick, Lindsay Lohan's corny "comeback vehicle," is so awful it makes the entire slate of Lifetime guilty-pleasure TV movies look like Masterpiece Theatre.
  65. It's the kind of sitcom writing that gives sitcoms a bad name.
  66. When you add to that a string of obvious, unfunny cross-dressing jokes and a set of female characters that are barely even one-dimensional, the premise pretty much collapses entirely.

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