Richard Zoglin

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For 49 reviews, this critic has graded:
  • 18% higher than the average critic
  • 36% same as the average critic
  • 46% lower than the average critic
On average, this critic grades 4.2 points lower than other critics. (0-100 point scale)

Richard Zoglin's Scores

Average review score: 64
Highest review score: 100 Crime Story: Season 1
Lowest review score: 20 Melrose Place (1992): Season 1
Score distribution:
  1. Positive: 24 out of 49
  2. Negative: 4 out of 49
49 tv reviews
    • 77 Metascore
    • 60 Richard Zoglin
    It's a self-important but frequently entertaining mix of Ben Casey melodrama and St. Elsewhere-style modernism.
    • 80 Metascore
    • 90 Richard Zoglin
    It's probably the most realistic fictional treatment of the medical profession TV has ever presented. The pace is furious, the narrative jagged and unsettling.
    • 59 Metascore
    • 20 Richard Zoglin
    A phony-to-the-core twentysomething sitcom. ... This earnestly flaky show from the creators of Dream On runs the gamut from '30s romantic farce to Seinfeldian trivia... without being believable for a moment.
    • tbd Metascore
    • 70 Richard Zoglin
    For baseball lovers it's the World Series, All-Star Game and Fan Appreciation Day rolled into one, with all the hot dogs and frosty malts you can wolf down. It is also a bit much.
    • tbd Metascore
    • 60 Richard Zoglin
    The marvel is that anyone is still watching after the plodding premiere episode. ... Succeeding episodes have been better, mainly because they have emphasized the show's homespun attractions. One is a talking dolphin named Darwin... The other is a Star Trek-like combination of imaginative sci-fi story lines and the cozy ethos of Wagon Train.
    • 72 Metascore
    • 40 Richard Zoglin
    Take away the levitation effects from Lois & Clark and you've got a strained knockoff of Moonlighting.
    • tbd Metascore
    • 40 Richard Zoglin
    The [finale] movie, sadly, is a disappointment. Stilted and sanctimonious, it labors under a pair of common PBS problems: too little production money (a lot of static dialogue scenes) and too much preaching.
    • 84 Metascore
    • 90 Richard Zoglin
    A crackling good TV show, probably Bochco's best since Hill Street Blues. Better than Hill Street in some ways: sleeker, more focused, less distracted by those often annoying comic interludes.
    • tbd Metascore
    • 40 Richard Zoglin
    It's a perfectly amiable, perfectly inconsequential cartoon show that seems better suited to Saturday mornings. ... The trouble is that this nameless Everydog doesn't talk, or even have many discernible expressions. That puts most of the comic burden on the characters around him, who are a dull lot.
    • tbd Metascore
    • 90 Richard Zoglin
    A few minutes into this futuristic fantasy, and viewers numbed by TV's docudrama deluge will realize they've stumbled onto something special. A few more minutes, and a lot of them might be zapping off to Married . . . with Children. But those who fall for Wild Palms could fall hard: what we have here may be TV's next cult hit. Or at the very least, the most spellbinding mini-series to come along since Twin Peaks.
    • 75 Metascore
    • 70 Richard Zoglin
    It toys with the sitcom format in ways both inventive (the little flourishes of animation that divide scenes) and annoying (the episode outtakes that run under the closing credits).
    • tbd Metascore
    • 60 Richard Zoglin
    Confident and plainspoken. ... Dr. Quinn is hokum without an agenda, other than re-creating some old-time TV pleasures.
    • 94 Metascore
    • 70 Richard Zoglin
    In the end, however, Homicide doesn't stand out in bold enough relief from TV's background clutter. The characters are too pat, their conflicts too predictable.
    • 75 Metascore
    • 90 Richard Zoglin
    Stiller is capable of turning out a dead-on TV or movie parody, like his takeoff on Cape Fear, with a grownup Eddie Munster as the De Niro-esque psycho. But he rarely settles for the frisson of a good impersonation; his sketches usually give the satiric knife an extra twist or two.
    • 72 Metascore
    • 80 Richard Zoglin
    The season's best new sitcom. ... Reiser, a former stand-up comic, has knife-edge timing and a full repertoire of nervous tics, and Hunt manages to be both charming and exasperating at the same time.
    • tbd Metascore
    • 40 Richard Zoglin
    Its therapy-session psychologizing tends to run amuck.
    • tbd Metascore
    • 80 Richard Zoglin
    All that's missing from Seinfeld is some human ballast to the frivolity. Jokes about air conditioning in Florida and bathrooms in shopping malls are fine as far as they go. But Seinfeld the character remains curiously weightless and remote.
    • 47 Metascore
    • 20 Richard Zoglin
    For all its soap-opera slickness, Beverly Hills 90210 manages to tap into real concerns of contemporary teens: dating, parents, friends, sex. Melrose Place thus far is tapping into nothing more than worn plot lines from The Young and the Restless.
    • tbd Metascore
    • 40 Richard Zoglin
    Let's be fair: Murphy Brown has some good things going for it. One of the few comedies on TV that stay abreast of current events, it has the smarts and the moxie to take pokes at everything from gossip-mongering tabloids to the Anita Hill hearings. ... But mostly the show is pretentious and annoying.
    • 64 Metascore
    • 50 Richard Zoglin
    Great idea, middling execution.
    • 71 Metascore
    • 60 Richard Zoglin
    The show is more lushly pictorial than anything this side of the National Geographic Specials, and its seat-of-the-pants approach to history is peppy and playful. ... [But] Indy's adventures in the first episode are often unimaginative (the old mummy's-tomb-with-a-curse routine), and the flip dialogue is too forced.
    • 72 Metascore
    • 70 Richard Zoglin
    The echoes of To Kill a Mockingbird and The Member of the Wedding are hard to miss, and the show's two-hour pilot moves as slowly as, well, molasses in January. Yet producers Joshua Brand and John Falsey (St. Elsewhere, Northern Exposure) have created a drama of rich texture, few tricks and much truth.
    • tbd Metascore
    • 70 Richard Zoglin
    Homefront is a slick, satisfyingly busy soap opera.
    • 88 Metascore
    • 70 Richard Zoglin
    At its best, which is very good, Brooklyn Bridge rings with fresh and funny childhood observations.
    • 64 Metascore
    • 50 Richard Zoglin
    There are some amusing gibes at power-tool macho... but dubious prospects for long-term fun.
    • 47 Metascore
    • 40 Richard Zoglin
    The device generates some laughs but starts wearing thin before the first episode is even finished.
    • tbd Metascore
    • 60 Richard Zoglin
    It's not hard to see the show's attraction. The cast is drop-dead cute, and the low-impact story lines bounce from the trivial to the traumatic with breezy assurance.
    • 83 Metascore
    • 40 Richard Zoglin
    The show has some nice touches. Joel's Jewishness is refreshingly up-front, and it's good to see a few Native Americans on TV for a change. But this domesticated Twin Peaks is too precious by half.
    • tbd Metascore
    • 70 Richard Zoglin
    With his deft timing and vaudeville hamminess, White brings such extravagant high spirits to the role that he is hard not to like.
    • tbd Metascore
    • 90 Richard Zoglin
    Not since Woody Allen's What's Up, Tiger Lily? has anyone had so much fun with bad movies.

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