Kansas City Star's Scores

  • TV
For 305 reviews, this publication has graded:
  • 55% higher than the average critic
  • 1% same as the average critic
  • 44% lower than the average critic
On average, this publication grades 2.4 points lower than other critics. (0-100 point scale)
Average TV Show review score: 64
Highest review score: 100 The Wire: Season 3
Lowest review score: 0 Gossip Girl: Season 1
Score distribution:
  1. Mixed: 0 out of 177
  2. Negative: 0 out of 177
177 tv reviews
  1. In less capable hands, the show might have turned into a far-fetched teen fantasy about life without parental restrictions...Here, it is a touching and finely crafted exploration of what it means to grow up without either the rules or the loving guidance of parents. [10 Sept 1994]
    • Kansas City Star
  2. The opening scenes of City of Angels" are so poorly written and in such stunningly poor taste that I was tempted to declare this one D.O.A. after just 10 minutes. And I'm afraid many viewers will do the same, which is unfortunate for City of Angels because eventually the show does find its way. [15 Jan 2000]
    • Kansas City Star
  3. For its first two hours, every aspect of FX’s new medieval drama is obscene, from the needlessly degrading sex scenes to the gleeful throat-slitting. Its most heinous offense is burying its promising premise in a pile of corpses before a talented cast can find the story’s pulse.
  4. Tucker is my candidate for the first cancellation of the fall: bad show, bad time period, bad lead-in ("Daddio"). [2 Oct 2000, p.E1]
    • Kansas City Star
  5. A serviceable but less-than-stellar spinoff of AMC’s hit series “The Walking Dead.”
  6. In its favor, Danny has no laugh track, and Stern is endearingly innocent of the perils of single fatherhood. But viewers have moved beyond conventional comedies like this one. [28 Sept 2001, p.E1]
    • Kansas City Star
  7. The plot twist at the end (of the first episode) may wind up redeeming future episodes of That Was Then, but for now you may find yourself wishing afterward that you could travel back in time and get that hour back. [27 Sept 2002, p.E1]
    • Kansas City Star
  8. Turns out the "new" version of Luis is virtually unchanged from the abominable pilot that was made last spring. [19 Sept 2003, p.E8]
    • Kansas City Star
  9. The show’s salty-sweet themes of loyalty and redemption contrast nicely with the vile comedic speeches Leary has made a career out of delivering.
  10. The first hour of Scream is an efficient fright-delivery system wrapped inside a teen drama, but it’s meta-commentary that makes it worthwhile. That, and the pilot’s promise to spread out its jump scares more slowly and deliberately.
  11. Although it was wise not to try to repeat the double interrogation format of the first season, there are clever nods to those closed-room confessionals, and the show eventually eases into rewarding drive-and-talks between Farrell and McAdams.... What keeps this Detective from being quite as compelling as the first is the lack of early focus.
  12. Warburton is spot-on perfect as Tick. [8 Nov 2001, p.E1]
    • Kansas City Star
  13. "X-Files" fans have been talking up this show, sight unseen, for months, based mainly on rumors and snippets from the set. But Harsh Realm may well validate all that hype. [8 Oct 1999, p.F1]
    • Kansas City Star
  14. [A] sad-sack parody. [18 June 1999, p.F4]
    • Kansas City Star
  15. Wayward Pines has moments where it’s a happy hot mess, but it’s mostly a muddy puddle of confusion, and it has executive producer M. Night Shyamalan’s fantastical fingerprints all over it.
  16. Montage of Heck achieves its goal of intimacy almost too well. It’s such a tightly cropped portrait that criticizing it feels like criticizing Cobain. But it’s too long and a bit repetitive, and it keeps trying to explain its subject through his own scribblings long after his soul has been laid bare by more direct means.
  17. A three-hour miniseries that bounces between tragedy and comedy with ease.
  18. It's a more compelling, faster-paced and less frustrating journey than fans were treated to in “A Feast for Crows” and “A Dance With Dragons,” the novels that line up with the current action in Westeros’ winter-is-coming world.
  19. Daredevil stands alone as an artful, gritty ensemble drama that could elevate the superhero origin story like HBO’s “True Detective” did for the crime procedural.
  20. I could watch Roger (ever-dapper John Slattery) fire people all day long (Sunday’s surprise firing is an epic one), but Don’s cryptic conversations with strangers can feel staid and scholarly.... And then--herein lies the addictive nature of the show--the action pauses for just a moment, the acting thrums with tension, and you feel satisfied that you have been a good student.
  21. Haggis’ journey into and out of Scientology could have made a fascinating film by itself, and he’s just one of a dozen articulate talking heads.
  22. The Slap is rare TV, depicting the kind of drama viewers might find themselves caught up in. It’s nice to see a show shamelessly go about doing its manipulative business.
  23. The moral quicksand that made The Americans so compelling for its first two seasons is deeper than ever.
  24. The History channel’s Sons of Liberty miniseries tells a satisfying tale of Boston’s slow burn toward rebellion in the 1770s.
  25. Unlike "The Office," Backstrom hasn't yet fleshed out the supporting characters to water down Wilson's well-oiled obnoxiousness generator. Once it stops explaining everyone's backstory--why is he so bitter? why is she so naive? why are the firefighters evil?--Backstrom might turn into a decent chase for the bad guy of the week.
  26. It’s a bit of a mess.... Between the issues of race, tribalism, rape and consent, The Red Tent covers more ground than expected.
    • 55 Metascore
    • 40 Critic Score
    With a Capt. Hook who spent most of his time seated and an opaque Peter, my expectations gradually evaporated. The show seemed like a slowly deflating balloon.
  27. Frances McDormand delivers another one of her consistent, airbrush-free performances in HBO’s four-part miniseries, an adaptation of Strout’s book that focuses more tightly on its title character and ends up drawing to a simpler, more raw-edged conclusion.
  28. Death Comes to Pemberley, on paper and the small screen, is not as satisfying as a newly discovered Austen novel would be.
  29. Gunn and Tennant are flat-out fantastic in Gracepoint. The supporting cast, including Nick Nolte at maximum haggard levels, is compelling. They’re so good, it might take a while to notice that you’ve seen this story before, even if you haven’t seen “Broadchurch.”

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