For 69 reviews, this critic has graded:
  • 65% higher than the average critic
  • 0% same as the average critic
  • 35% lower than the average critic
On average, this critic grades 4 points lower than other critics. (0-100 point scale)

Phil Gallo's Scores

Average review score: 65
Highest review score: 100 Scrubs: Season 1
Lowest review score: 10 Standoff: Season 1
Score distribution:
  1. Positive: 41 out of 69
  2. Negative: 11 out of 69
69 tv reviews
    • 60 Metascore
    • 70 Phil Gallo
    Stories shouldn’t end as neatly as the one in the pilot — Jordan’s transition from apparently homeless to superwoman moves faster than a speeding bullet — but [Hennessy] has the talent to carry this show by her lonesome.
    • 68 Metascore
    • 70 Phil Gallo
    With the emotional tug of Wonder Years presented with the production values of The West Wing, Dreams should follow Wing, The Sopranos and 24 as stellar shows that live up to the promise of its pilot.
    • 71 Metascore
    • 40 Phil Gallo
    This is too far over the top, and even fans of FX's "The X Show" will find it wearisome after a few weeks. How often can you laugh at a dog humping a woman's leg?
    • 61 Metascore
    • 30 Phil Gallo
    Hourlong debut is numbingly dull and predictable, a combination of MTV's "Real World" with "Behind the Music" lighting and a random public access "community auditions" show.
    • 49 Metascore
    • 60 Phil Gallo
    Blessed with one of the most-coveted timeslots in television, series needs to find a consistent tone to find its own audience — the second half of the second episode demonstrates that it is possible.
    • 84 Metascore
    • 90 Phil Gallo
    Scorsese has created a document that will satiate Dylan fans over repeated viewings and should bring naysayers into the Dylan fold. The revelatory 3½-hour docu is a triumph.
    • 29 Metascore
    • 40 Phil Gallo
    The show's cast is potentially likable; once they're given a script that doesn't feel so derivative and stuck on a single note, show could blossom. [23 Sept 2002, p.22]
    • Variety
    • 78 Metascore
    • 100 Phil Gallo
    A masterful portrayal of the bleakness of the decision-making process within the medical profession, Gideon's Crossing is challenging and arresting television. It's a cerebral approach to issues of healing and loss, made all the more dramatic by the presence of Andre Braugher. [9 Oct 2000, p.4]
    • Variety
    • 56 Metascore
    • 30 Phil Gallo
    Characters are indistinguishable from each other and forced to either mutter or shout cliched New Yawk dialogue. And the editing moves the action from one scenario to another at such an exaggerated pace that nothing gets a chance to truly resonate.
    • 59 Metascore
    • 60 Phil Gallo
    There’s a good possibility the first two “Watching Ellie’s” won’t generate more than four out-loud chuckles, but that’s no reason for audiences or networks to give up on this series’ prospects.
    • 66 Metascore
    • 30 Phil Gallo
    For all the talent associated with this show that has a handle on urban humor and pics oriented toward youths ... it's startling that Platinum is so unaffecting.
    • 78 Metascore
    • 80 Phil Gallo
    It's fly-on-the-wall moviemaking, a must-see for anyone hoping to break into the creative side of the film business. [30 Nov 2001, p.14]
    • Variety
    • 59 Metascore
    • 70 Phil Gallo
    Much of the tone is supplied by an acting ensemble that keeps it light and unforced, combined with some sharp editing. There's a bit too much voiceover, all from Duhamel's McCoy, but it is effective in establishing his mindset. Las Vegas, like the city itself, has guilty pleasure written all over it.
    • 86 Metascore
    • 80 Phil Gallo
    For Leary fans, it's a treat to have him back on the air in a smartly drawn, non-PC drama with a heavy comedic element.
    • 70 Metascore
    • 50 Phil Gallo
    Lack of likable characters may be show’s downfall, though if future hourlongs focus on ethical and personal dilemmas rather than pile them on as occurs in the pilot, Nip/Tuck has some promise.
    • 90 Metascore
    • 90 Phil Gallo
    Despair and hopelessness form the intersection at which Charles Dutton studies a drug-addled world that's painfully real and overwhelming. [17 Apr 2000, p.37]
    • Variety
    • 60 Metascore
    • 40 Phil Gallo
    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]
    • Variety
    • 65 Metascore
    • 60 Phil Gallo
    An absolute visual stunner with compelling freak-show characters --- but the series unfortunately takes a leisurely approach toward getting to a point. [12 Sep 2003]
    • Variety
    • 97 Metascore
    • 100 Phil Gallo
    "The Sopranos" retains the title of the most involving series on television and James Gandolfini continues to be a powerhouse of a performer. [2 Mar 2001]
    • Variety
    • 97 Metascore
    • 100 Phil Gallo
    It's difficult to single out any particular aspect of the show: It's just plain brilliant. [13 Jan 2000]
    • Variety
    • 68 Metascore
    • 70 Phil Gallo
    Debut is plenty funny yet Fox has a tough job ahead trying to lure ["Beavis & Butt-head"] audiences, which may grow tired of the comic targets, or "The Simpsons" crowd, which may find the antics too restrained. [10 Jan 1997]
    • Variety
    • 88 Metascore
    • 100 Phil Gallo
    "Curb Your Enthusiasm" retains its place as the funniest of the funny on television today. [5 Jan 2004]
    • Variety
    • 93 Metascore
    • 100 Phil Gallo
    Good as "Curb" has been, this 10-episode season should be the year it gets recognized as HBO's finest comedy. [11 Sep 2002]
    • Variety
    • 80 Metascore
    • 90 Phil Gallo
    No one has created a funnier TV character this fall. ... While the first four shows have their fair amounts of laugh-out-loud moments, each ends on an enormous knee-splitter; it's a show viewers will remember the following day and likely laugh at even harder than they did the first time. [12 Oct 2000]
    • Variety
    • 75 Metascore
    • 80 Phil Gallo
    Dean Parisot's direction is splendid throughout as he establishes a tone and sticks with it, never getting too jokey or edge-of-the-seat dramatic. [12 July 2002, p.14]
    • Variety
    • 85 Metascore
    • 100 Phil Gallo
    Cast is uniformly sound and sufficiently distinct without forcing oddballs into the mix. Show's strength in the pilot is its reliance on the ensemble over displaying individual talents but it might well have two secret weapons. One's Rogen, who plays the cool cat who's easily tripped up and has to work on regaining his composure; and Keena, who appears to have a good sense of how to play simple emotions convincingly and might well be on to bigger things. [25 Sept 2001, p.17]
    • Variety
    • 83 Metascore
    • 60 Phil Gallo
    '24' isn't getting off to the spectacular start that it did in its debut season when the focus was singular and clear-cut. [29 Oct 2002]
    • Variety
    • 88 Metascore
    • 100 Phil Gallo
    Captivating from its first minute forward, "24" is the rare example of a television pilot that hits every mark with an aura of excitement and precision, a stellar cast that exudes personality and personal history, and direction that is as taut as it gets. [2 Nov 2001]
    • Variety
    • 54 Metascore
    • 80 Phil Gallo
    Mannion, played by the formerly lovable "Coach," Craig T. Nelson, is the heart, the soul, the brains --- you name it --- of "The District," and he handles the burden well in the series premiere. [6 Oct 2000, p.22]
    • Variety
    • 25 Metascore
    • 20 Phil Gallo
    Thoroughly unfunny paranoid romp through New York. Rev up the midseason replacement. [6 Oct 2000, p.22]
    • Variety

Top Trailers