Philadelphia Inquirer's Scores

For 746 reviews, this publication has graded:
  • 54% higher than the average critic
  • 2% same as the average critic
  • 44% lower than the average critic
On average, this publication grades 4.6 points lower than other critics. (0-100 point scale)
Average TV Show review score: 62
Highest review score: 100 Boston Med: Season 1
Lowest review score: 0 Hawaii: Season 1
Score distribution:
  1. Mixed: 0 out of 410
  2. Negative: 0 out of 410
410 tv reviews
  1. Come to The Stand tonight as a TV event, not a revelation. You may get hooked for the duration. Or you may decide by Thursday night that Seinfeld, Frasier and the gathering demise of L.A. Law are more interesting than this particular retelling of the Noah's Ark tale. [8 May 1994, p.G01]
    • Philadelphia Inquirer
  2. After a few explanatory bumps, Sliders is a thoroughly unconfusing ride on the action side, and its two young characters are extremely cute. Score a pair of positive points for audience appeal with the same people who like Beverly Hills, 90210. [22 March 1995, p.F01]
    • Philadelphia Inquirer
  3. The characters are well-drawn by executive producer Peter Berg and his minions, who spent months doing research. The plots are provocative. The acting glistens. [30 March 2000]
    • Philadelphia Inquirer
  4. Titus' shtick might be funny in a nightclub, but it's a droning, sour note of meanness on TV, so much so that Fox decided to move the pilot, where we get an intimate introduction to Titus and his family, to the show's second week. [20 March 2000, p.D05]
    • Philadelphia Inquirer
    • 71 Metascore
    • 40 Critic Score
    Welcome to Son of the Beach, a Howard Stern production, where the jokes are as broad and obvious as a beached whale, and where bikini'd female flesh is as plentiful as lip piercings at Lollapalooza. [14 March 2000, p.D04]
    • Philadelphia Inquirer
  5. It runs 3 hours and 37 minutes. It's too darned short. [26 Sep 2005, p.C7]
    • Philadelphia Inquirer
  6. Watching a man, even a man who looks terrific on a horse, trying to hold on to what he already has can take Yellowstone only so far. It’s the son who got away who could help Dutton stay interesting, and maybe even teach him something about fatherhood.
  7. The Last Defense is good enough television not to show all its cards in the first hour. That’s also its power.
  8. For Whom the Bell Tolls covers the things you’d expect, including his years as a prisoner of war in Vietnam. But it acknowledges his flaws, including a powerful temper. And it doesn’t skip past some painful bumps in his biography.
  9. The thing about newsrooms is that they’re full of characters, and always have been, even before Twitter made us count them. The Fourth Estate gets that and shows the people behind the bylines, the podcasts, and the tweets. ... You might see, yes, how hard they try, but also why--and even, amid their obvious exhaustion, how much fun they have doing it.
  10. You might come to One Strange Rock for its host, Philadelphia’s Will Smith, but you’ll stay for the astronauts. ... The visuals in One Strange Rock, are beautiful, occasionally strange, sometimes even otherworldly. Rock’s true stars, though, are people like Chris Hadfield, the first Canadian to command the International Space Station.
  11. [The children's] enthusiasm for 19th-century child labor, whether it's selling watercress in the streets, sewing, or spending countless hours making artificial flowers, is contagious. They complain less than the adults--or have been edited more charitably -- and seem to appreciate that their contributions are indispensable.
  12. The four episodes I've seen are action-packed but emotionally unsatisfying, possibly because Michael's motives are so far much less clear.
  13. Yes, it's all decidedly odd.
  14. Victoria at its best when the young queen is exercising her authority--and learning its limits--while widening her horizons, not worrying about what Albert might think.
  15. Sneaky Pete is fun, even if it isn't wildly unpredictable.
  16. It doesn't try to get too edgy (looking at you, Netflix's The Ranch), yet feels new all the same.
  17. Mysterious comebacks have become a TV genre in themselves, yet I haven't seen anything quite like The OA, whose twists were gripping enough to keep me going even in some moments when I'd otherwise have been rolling my eyes.
  18. The writing in the two episodes I've seen is funnier and more pointed than the show's premise.
  19. It grows into something less brittle--and funnier--over the six I've seen, as the couple explore their increasingly unpalatable options and we get to know them better.
  20. Issa the character may be a work in progress, but the woman writing and playing her knows exactly what she's doing.
  21. The Dennis Quaid-Jim Caviezel movie has been reimagined as a story about a police detective (Peyton List, Blood & Oil) who's trying to save her long-dead father (Riley Smith, Nashville), and it packs the emotional punch of the original.
  22. This pilot's not quite as clever as those for Jane or Crazy Ex-Girlfriend were, but it's charming fun.
  23. When the guests--and we--have trouble telling the robots from the humans, things can get murky. Particularly when some of the "hosts" begin to show signs of remembering the traumas they've endured. It's as though the targets in a first-person shooter game suddenly developed PTSD. I think this is meant to bother us, but I don't know how long it will, based on the four episodes I've seen (there are 10 this season). ... The opportunity to watch Anthony Hopkins in a weekly series would alone be reason to watch, and here he's surrounded by people who can play at his level.
  24. This might be the best of Marvel's Netflix shows so far.
  25. If you thought Woody Allen would revolutionize television with his new Amazon series, Crisis in Six Scenes, prepare to be underwhelmed. ... May is the single best reason to watch Crisis in Six Scenes.
  26. CBS came through with something that feels enough like the '80s-era ABC original to be a museum piece (if ticking time bombs were allowed in museums).
  27. The people are pretty (and pretty underhanded), the situations mildly predictable, and the production as frenetic as any cable news hour.
  28. The pilot about a woman pitcher (Kylie Bunbury) who gets called up to the San Diego Padres is a winning one, and as much about coping with overnight fame and the weight of other people's dreams as it is about baseball.
  29. These two don't just have chemistry. They have a script that reintroduces Roger Murtaugh and Martin Riggs as characters who are as interesting facing each other across a dinner table as they are during a shootout or car chase.

Top Trailers