Howard Rosenberg

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For 188 reviews, this critic has graded:
  • 46% higher than the average critic
  • 3% same as the average critic
  • 51% lower than the average critic
On average, this critic grades 9.5 points lower than other critics. (0-100 point scale)

Howard Rosenberg's Scores

Average review score: 60
Highest review score: 100 Undeclared: Season 1
Lowest review score: 0 Full House: Season 1
Score distribution:
  1. Positive: 93 out of 188
  2. Negative: 47 out of 188
188 tv reviews
    • 62 Metascore
    • 40 Howard Rosenberg
    Dawson's Creek doesn't cut it when measured against other adolescent coming-of-angst series.
    • Los Angeles Times
    • 60 Metascore
    • 60 Howard Rosenberg
    Here is a series you want to like, if only it will let you.
    • 79 Metascore
    • 80 Howard Rosenberg
    An endearing new CBS hour from Glenn Gordon Caron that promises to be one of TV's shouldn't-miss series. [24 Sep 1999, p.F1]
    • Los Angeles Times
    • 50 Metascore
    • 70 Howard Rosenberg
    You'd find answers here, but the premiere ends as inky as it begins, its ambiguity making it all the more appealing as Kanin gradually strips back layers of intrigue in a dark locale where nights outnumber days about 10 to 1, and the forest is a place to avoid unless you're carrying a bazooka. [12 Sep 2001, p.8]
    • Los Angeles Times
    • 69 Metascore
    • 70 Howard Rosenberg
    When it comes to TV, Shepherd’s comedy pedigree has the sheen of a winner.
    • 71 Metascore
    • 80 Howard Rosenberg
    The best thing about the two-hour premiere of "Murder, She Wrote" is Angela Lansbury. She is all mischief and devilment, huggably wise, possessed of an agile mind and a sweet nature as a mystery writer/amateur detective who is always one amiable step ahead of the police. [29 Sep 1984, p.12]
    • Los Angeles Times
    • 68 Metascore
    • 40 Howard Rosenberg
    Despite being written by producer Gary David Goldberg (one of the brighter young comedy minds in TV), the script speaks the narrow, doctrinaire language of bumber stickers. [22 Sep 1982, p.7]
    • Los Angeles Times
    • 47 Metascore
    • 70 Howard Rosenberg
    The broad ending is the kind of silly piffle that only the likes of Robin Williams could pull off, and the show's plethora of bawdy double entendres regarding the male anatomy is ill suited to a time period so accessible to young kids. All in all, though, it's a good start, the key being that both Pinchot and the writing are effortlessly witty. [25 Aug 1993, p.F10]
    • Los Angeles Times
    • 47 Metascore
    • 30 Howard Rosenberg
    As unoriginal as haunted house stories get, Stephen King’s Rose Red is his “Carrie” and “The Shining” meets “Ghostbusters,” “Night of the Living Dead” and the Psychic Hotline. Written by the prolific King, this overwrought, overacted three-parter on ABC is campy, not scary or even stomach-turning.
    • 74 Metascore
    • 60 Howard Rosenberg
    Diverting but stretched-out...While entertaining at times, Storm of the Century, too, rises barely midway up the horror scale. If you’re looking for a major fright, in other words, look elsewhere.
    • 79 Metascore
    • 80 Howard Rosenberg
    Pennywise is no sweetheart. Yet this is a story that’s icky, not scary. And when you finally do get a look at the evil force in its natural state, well c’mon! Now, the monster in “Alien” was a load. But this clanky klutz? Please! The performances here, especially Thomas as the stuttering horror novelist Bill, are very good. And director Tommy Lee Wallace nicely mixes realities, artfully using his flashbacks to establish Pennywise and repeatedly return “It” to its 1960 roots.
    • 61 Metascore
    • 40 Howard Rosenberg
    Be prepared not to be scared, though. Or even to be stimulated. The Stand is for viewers with time on their hands. Lots of it. And for viewers with patience. Lots of it...Despite its creepshow pretensions, much of it is flat-out dull.
    • 58 Metascore
    • 30 Howard Rosenberg
    A banal bore of a mishmash adventure series.
    • 51 Metascore
    • 50 Howard Rosenberg
    It needs people stories instead of technology stories.
    • 50 Metascore
    • 60 Howard Rosenberg
    What saves The Commish (barely) is Chiklis’ nice work as a complex, plain-talking family man seeking to distance himself from his modest Brooklyn origins, plus Scali’s priceless clashes with his shiftless brother-in-law (David Paymer). These humorous skirmishes in the presence of Scali’s wife (Theresa Saldana) set an urbane comic tone for “The Commish” that makes you almost forget the program’s lapses.
    • 56 Metascore
    • 40 Howard Rosenberg
    Not so amazing...All that waiting and wondering about the premiere of Steven Spielberg's "Amazing Stories" came to an end Sunday. Now there will be waiting and wondering anew -- to see if it will get better. [2 Oct 1985, p.6-1]
    • Los Angeles Times
    • 79 Metascore
    • 80 Howard Rosenberg
    A generally pleasing drama series that draws you in with capable acting and likable, intelligent characters.
    • 47 Metascore
    • 40 Howard Rosenberg
    Clerks is dumber than it is refreshingly risky.
    • 61 Metascore
    • 80 Howard Rosenberg
    The premiere is tender and seductive. [24 March 2000, p.F2]
    • Los Angeles Times
    • 59 Metascore
    • 80 Howard Rosenberg
    Animation continues to be television’s most promising venue for cutting-edge comedy. More evidence comes in NBC’s funny God, the Devil and Bob, which finds a Detroit auto worker at the center of a tug of war between the Almighty and the Prince of Darkness...It’s Cumming’s magnificently snotty Devil who steals the show.
    • 41 Metascore
    • 60 Howard Rosenberg
    It's all pleasant enough, Chiklis' noise notwithstanding. But hardly fresh or funny and never insightful about the roles of males and females in the year 2000. [23 March 2000, p.56]
    • Los Angeles Times
    • 73 Metascore
    • 80 Howard Rosenberg
    It’s this unsparing vision of a city whose human-relations problems may be insoluble that lifts “The Beat” well above the ordinary and raises hopes for its future as a cop show destined to be as important as it is entertaining.
    • 49 Metascore
    • 80 Howard Rosenberg
    The comedy here is anything but “The Sopranos” lite or neo-"Barney Miller,” much of its success resulting from Perkins’ easy, unmannered way with her likably nasty character. Although comedy begins with writing, Perkins doesn’t need much of a line to be funny, whether spinning sarcasm or lamenting being “up to my ears in hookers.”
    • 55 Metascore
    • 30 Howard Rosenberg
    The Others not only depicts the dead, it is dead...What they lack is a gift for sustaining an hour of drama
    • 57 Metascore
    • 60 Howard Rosenberg
    Underwood and Fox are good together, and this is solid, watchable drama that deserves longevity, skin color notwithstanding. [15 Jan 2000, p.F2]
    • Los Angeles Times
    • 61 Metascore
    • 80 Howard Rosenberg
    It's fresh, invigorating and one of the true highlights of the new season. ... Even without the score and choreography, "Cop Rock" is a compelling, well-acted police series that indeed does (as some of its critics charge) echo Bochco's late, great "Hill Street Blues," almost as if he meant it as a homage to his own work.
    • 25 Metascore
    • 30 Howard Rosenberg
    Aside from a fleeting homage to "The Invasion of the Body Snatchers," Leon's broadly played antics are the only thing even approaching humor in this grubby half-hour that goes for style while trying mightily to emulate Fox's infinitely smarter and funnier "Malcolm in the Middle." Fat chance.
    • 42 Metascore
    • 70 Howard Rosenberg
    It's a warm, gentle, amiable little comedy, one calibrated to smiles instead of punch lines followed by noisy laugh tracks.
    • 47 Metascore
    • 30 Howard Rosenberg
    Nothing here works. For one thing, beaming back to 1988 is hardly atmospheric to anybody older than 20. More fundamentally, this is teenhood on Mars. What you get are kids who not only look about 10 years older than they're meant to be, but who also have adult sensibilities. Lacking credibility even for a fantasy like this are Claudia's intimate chat about her virginity with Travis and his with his mother (Bess Armstrong) about an affair she's having. What's more, Travis' obnoxious, ever-present best friend, Pinkus (Tyler Labine), is just about unbearable.
    • 35 Metascore
    • 20 Howard Rosenberg
    Although the sights are beautiful, the premiere is less a story than a seascape, lacking the dramatic intensity and credible characters necessary to sustain an hour...You suspect that the creators of Baywatch are lifeguards moonlighting as writers.

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