For 82 reviews, this critic has graded:
  • 51% higher than the average critic
  • 3% same as the average critic
  • 46% lower than the average critic
On average, this critic grades 7 points lower than other critics. (0-100 point scale)

John Leonard's Scores

Average review score: 62
Highest review score: 100 Eyes on the Prize: Season 1
Lowest review score: 30 Reunion: Season 1
Score distribution:
  1. Positive: 44 out of 82
  2. Negative: 8 out of 82
82 tv reviews
    • 51 Metascore
    • 70 John Leonard
    As DiMaggio, Titus Welliver is so perfect we want more of him.
    • 68 Metascore
    • 70 John Leonard
    If we have to spend yet another summer in the twilight zone of alien abduction, it might as well have the intriguing twist of The 4400.
    • 48 Metascore
    • 70 John Leonard
    Worth it just to look at Moreau.
    • 74 Metascore
    • 80 John Leonard
    But the Storm King doesn’t disappoint at all. As we have come to expect from his novels and his mini-series, he is Walt Disney’s Evil Twin.
    • tbd Metascore
    • 100 John Leonard
    Glorious.
    • 56 Metascore
    • 80 John Leonard
    Falcone is as well cast as it’s well made.
    • 59 Metascore
    • 60 John Leonard
    It's less offensive to organized religion than your average Christmas-sale shopping mall and a distinct improvement on your average televangelist.
    • 41 Metascore
    • 60 John Leonard
    we are willing to put up for a while with the clichés because Chiklis has always seemed to be essentially a family man even when he was shooting people.
    • 49 Metascore
    • 70 John Leonard
    Not to be missed by anybody who ever mourned the passing of Barney Miller.
    • 84 Metascore
    • 70 John Leonard
    If No Direction Home is less a concert film and more of an American Masters documentary than The Last Waltz was, it is so much longer (by about an hour and a half) that we end up with the same amount of music anyway, and most of this music hasn’t been nibbled to death by cretinous videoheads who think that what they have to say is more interesting than the music they say it about.
    • 70 Metascore
    • 70 John Leonard
    The best I can wish for is a vehicle worthy of Parker’s prodigal talents ... By this standard, Showtime’s new sitcom Weeds is at least adequate, verging occasionally on inspired.
    • 89 Metascore
    • 80 John Leonard
    We stay interested because executive producers Graham Yost (Speed) and Jon Avnet (Fried Green Tomatoes) know what they're doing and have conscripted a crackerjack cast to do it.
    • 88 Metascore
    • 90 John Leonard
    The best of the new fall sitcoms.
    • 80 Metascore
    • 80 John Leonard
    With a calculation of word and image that’s almost elegant, Five Days gives us sociology and anthropology instead of shock and awe.
    • 62 Metascore
    • 50 John Leonard
    I like [the characters] all enough to hope they can float this so-far-leaky dirigible.
    • New York Magazine (Vulture)
    • 78 Metascore
    • 80 John Leonard
    We’re in excellent company, from the Boston Massacre to the Declaration of Independence to Adams’s plenipotentiary missions to Versailles and the Court of St. James to his unsought but extremely gratifying vice-presidency in the first Washington administration.
    • 33 Metascore
    • 30 John Leonard
    Freddie... isn’t funny.
    • 44 Metascore
    • 40 John Leonard
    The kids in Conviction have so much private life you wonder if you wandered into a Scream movie by mistake.
    • 35 Metascore
    • 40 John Leonard
    The show’s not awful, but not Robert Altman, either.
    • 69 Metascore
    • 60 John Leonard
    I suppose some of it is funny, as in a Kafka/Beckett/Pinter soft-shoe shuffle of grotesques. Still, what’s so far much more mesmerizing about The Riches is class war and caste hate.
    • 48 Metascore
    • 50 John Leonard
    Raising the Bar is professional television, but no more than that. Passion and purpose are among the missing.
    • 51 Metascore
    • 80 John Leonard
    Laura Harris as Jill Bernhardt, the platinum-blonde district attorney, Paula Newsome as Claire Washburn, the surprisingly jolly medical examiner, and Aubrey Dollar as Cindy Thomas, the impossibly young newspaper reporter, do not add up to a Kaffeeklatsch or a therapy group. I’m not saying that they don’t occasionally discuss emotions (usually Angie/Lindsay’s), but it’s more grad-school seminar than touchy-feely hot-tub hangout.
    • 67 Metascore
    • 80 John Leonard
    State of Mind will be worth a careful watching as much for the writer as for the star.
    • 49 Metascore
    • 50 John Leonard
    K-Ville’s co–executive producers are both cop-show veterans--Jonathan Lisco of NYPD Blue and The District, Craig Silverstein of Bones and Standoff--who know how to yank our chains with close-ups, jump cuts, booster shots of adrenaline, and low-rent noir.
    • 57 Metascore
    • 60 John Leonard
    The unnecessary reimagining from executive producer David Eick, is a lot darker than the 1976 original
    • 65 Metascore
    • 50 John Leonard
    And so far, so-so.
    • 36 Metascore
    • 50 John Leonard
    [It] telegraphs its most important punch too early on, and the rest is loud music, strobe lights, nose candy, and debauched dancing.
    • 77 Metascore
    • 40 John Leonard
    This series feel like a fifties leftover, chock-full of unimportant secrets.
    • 73 Metascore
    • 60 John Leonard
    This is a flabbergasting cast, so far called upon to do not much besides posturing. But my fingers are crossed, and my eyes too.
    • 75 Metascore
    • 70 John Leonard
    Everybody... will love Betty as much as her widowed father does.

Top Trailers