Pittsburgh Post-Gazette's Scores

  • TV
For 1,778 reviews, this publication has graded:
  • 42% higher than the average critic
  • 4% same as the average critic
  • 54% lower than the average critic
On average, this publication grades 7 points lower than other critics. (0-100 point scale)
Average TV Show review score: 60
Highest review score: 100 Fargo: Season 1
Lowest review score: 0 Killer Instinct: Season 1
Score distribution:
  1. Mixed: 0 out of 863
  2. Negative: 0 out of 863
863 tv reviews
  1. It would be a lot easier to like the kids from Dawson's Creek if they'd just put a sock in it now and then. [20 Jan 1998, p.C8]
    • Pittsburgh Post-Gazette
  2. Although I'm wise enough not to cross Jordan, I don't really want to watch more of this formula-driven show. [24 Sep 2001]
    • Pittsburgh Post-Gazette
  3. The show looks slick, the attention to detail is painstaking and the music inspires toe tapping.
  4. It doesn't make for an original TV show, of course, but Young Americans still manages to be guilty summer fun. Mindless and cliche, to be sure, but escapist entertainment nonetheless.
  5. The new Wolf Lake... is obvious and lumbers to a start rather than moving in Twin Peaks-like mysterious ways. [12 Sep 2001]
    • Pittsburgh Post-Gazette
    • 69 Metascore
    • 50 Critic Score
    Shepherd plays good-naturedly off her narcissistic image and the writers get off a few good lines. But this is just the kind of show that has to score with the quick zinger because it has nothing more solid to stand on. [01 Jan 1995]
    • Pittsburgh Post-Gazette
  6. Typical Netflix series bloat disappointments aside, “Inventing Anna” is a pretty engrossing ride largely due to Chlumsky’s relatability and Garner’s bonkers accent.
    • 71 Metascore
    • 75 Critic Score
    [Lansbury] made this show, which depended on smarts, instinct and the force of J.B.'s personality, not CSI evidence.
    • 68 Metascore
    • 80 Critic Score
    Meredith Baxter Birney and Michael Gross do a splendid job as modern-day parents with an attractive brood of convincingly "now" youngsters. [19 Oct 1982, p.34]
    • Pittsburgh Post-Gazette
  7. Well, you won't find a much funnier lead than Pinchot, but even a comic genius needs something and someone with which to work. With the supporting cast offering no support at all, Pinchot pushes egregiously, until even this funny man isn't funny anymore. [25 Aug 1993, p.
    • Pittsburgh Post-Gazette
    • 43 Metascore
    • 75 Critic Score
    The guest performances were delightful and contributed greatly to the success--in my opinion--of the opener. [28 Sep 1977, p.49]
    • Pittsburgh Post-Gazette
  8. "Rose Red delivers a better story than his last opus (1999's "Storm of the Century") with better developed characters, but at the end I still felt like I'd wasted a lot of time. What's the point in setting up an intriguing, intricate backstory without offering some answers?
    • 82 Metascore
    • 60 Critic Score
    If you're going to have a great actor play the vampire's human familiar, you could do worse than James Mason. [10 Sept 1917, p.F-7]
    • Pittsburgh Post-Gazette
  9. The first two episodes deliver a lot of setup as Alex’s world is ripped apart before he’s set on his path to becoming a spy. The plot mechanics are fairly predictable and it takes the show too long to get where it’s clearly going.
  10. An easy, breezy binge, “Corona” puts a welcome, mostly upbeat spin on trying times.
  11. Though I find it boring as can be, my kids enjoy watching YouTube videos of other people playing video games. I suppose “Dead Pixels” might be for those entertainment consumers – and those alone.
  12. Showtime’s “Love Fraud” is the year’s most engrossing true crime docu-series. ... There’s barely any flab in these four hours as the story takes progressively weirder, more surprising turns.
  13. While there is an ongoing serialized story, the individual episode stories involving the lead characters represent “Lovecraft Country” at its best: a haunted house in episode three, a “National Treasure”-style quest in episode four, a metamorphosis in episode five. The episodes often upend expectations.
  14. Lasso’s good-humored, unflinchingly honest and polite character appeals as a type we don’t often see in a single-camera comedy in the post-anti-hero TV series era.
  15. “Lower Decks” has its occasional chuckle-worthy moments, but too often the show opts for wild chaos as a substitute for actual comedy.
  16. It rarely feels improvised except maybe in Q&A interviews with celebs and in “Pepe’s Unbelievable Game Show.” After four episodes, it’s safe to say “Muppets Now” is only occasionally funny, and the recurring segments grow repetitive.
  17. As with plenty of reality competitions, one wonders if “Fridge Wars” might be stronger with one family at a half-hour rather than the one-hour running time, but for the most part “Fridge Wars” doesn’t feel padded.
  18. This silly series deserves kudos for living up to its title. Each eviction is carried out in campy, horror style. ... If future episodes can effectively-yet-cheesily ape horror movie conventions with a different method of end-of-show murder each week, “Killer Camp” will prove itself an entertaining summer diversion.
  19. This paint-by-numbers series has everything you expect in a lousy ’90s comedy but don’t want.
  20. Give this show the “Space Force” medal for unfunny comedy. And as bad as “Space Force” was, Netflix’s Steve Carell disappointment was still better than this dud.
  21. “Brave New World” begins as mostly serious and dystopian, but by episode four there’s a shift in tone. Whether by showrunner David Weiner’s design or network notes, the show lightens up, allowing for more moments of dark humor but also some weird character turns.
  22. A conspiracy thriller, this 2019 British import offers a whiplash-inducing premiere that goes from, “This is a ridiculous investigation that appears to lack a crime” to “How is that possible?”
  23. Bloated and still inconclusive, the new “Unsolved Mysteries” benefits from Netflix’s usual high production values for nonfiction programming, but there’s no reason for these episodes to drone on as they do; there’s not enough story to support their running time.
  24. “I’ll Be Gone in the Dark” opens some doors and then never fully explores the implications of McNamara walking through them.
  25. A hilariously absurd sketch comedy that masquerades as a “Soul Train”-esque show.

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