The Hollywood Reporter's Scores

For 2,307 reviews, this publication has graded:
  • 48% higher than the average critic
  • 4% same as the average critic
  • 48% lower than the average critic
On average, this publication grades 4.4 points lower than other critics. (0-100 point scale)
Average TV Show review score: 62
Highest review score: 100 Better Things: Season 2
Lowest review score: 0 Sons Of Hollywood: Season 1
Score distribution:
  1. Mixed: 0 out of 1232
  2. Negative: 0 out of 1232
1232 tv reviews
  1. It's very, very earnest and sometimes very, very clunky. Those caught up in its earnestness will forgive the clunkiness. I only sometimes did. ... There are fine supporting turns from Luke Kirby (acting Bess' two love interests off the screen even in a smarmy role), Ned Eisenberg and a wordless yet wonderful June Squibb. With Nelson behind the camera on the pilot and several subsequent episodes, Little Voice is a good New York show.
  2. I'm delighted to find that Netflix's 10-episode adaptation of the series is not only warm and effervescent — it's downright among the best shows the streaming platform has produced to date.
  3. Thematically, Warrior Nun is nothing you haven't seen before, and aesthetically, nothing you ever want to see again. Bleak, dour and trudging, the series contains none of the kitschy, blasphemous fun of its title.
  4. Showtime's new docuseries Outcry produces five hours of strange visceral responses, because it isn't particularly mysterious and it generates its empathy in a peculiar way. Still, it's provocative and infuriating — and if it feels somewhat padded, the duration is thematically justified.
  5. P-Valley is the kind of series so variously accomplished you don't know what to praise first. ... The cast is uniformly excellent but the central trio of Evans, Annan and Johnson especially so, making the most of often luscious dialogue that veers between playfully obscene and heartbreakingly forlorn.
  6. The biggest unsolved mystery behind Netflix's reboot of Unsolved Mysteries is, "Why bother?" This new incarnation has almost none of what made the original memorable, substituting generic cases and limited style in stories (episodes run less than an hour) that are too dull for a miniseries and too meekly investigated for a newsmagazine.
  7. Despite a masterful performance by Shawkat, it's a little difficult to square the guileless Dory of Season 1 with the sociopathic conniver that she has become by the start of Season 3. But that's ultimately a quibble with Search Party's thoroughly satisfying third season, which finds a middle ground between the satirical buoyancy of the series' first year and the mournful surreality of its second.
  8. In line with the autobiographical bent of the source material, I'll Be Gone in the Dark is as much an extended eulogy of McNamara as it is a recounting of the Golden State Killer case. These two modes of the six-hour docuseries finally find a shared theme in shattered domestic peace very late in the series, but McNamara, as she's depicted here by Garbus and her team, isn't dynamic enough as a traditional screen "character" to hold such sustained interest. What should be a bingeable mystery feels too often like an indulgent slog.
  9. The second season of Ryan Murphy, Brad Falchuk and Ian Brennan's Netflix comedy is a hollow and perplexingly stale glimpse into American politics. At seven episodes, several running under 40 minutes, The Politician is neither effective escapism in a moment of general cultural discomfort nor does it have anything vaguely insightful to say about our electoral process — a basically unforgivable sin for a show airing in an election year.
  10. With a strong lead performance by Matthew Rhys, an ensemble to die for and impeccable Depression era production values, the show makes a solid case for itself without ever exactly giving a compelling answer as to why, of all the available IP in the world, this was the brand anybody wanted to mine. ... Perry Mason generally avoids feeling like an assembly line Cable Anti-Hero: Great Depression Edition. Much of the credit goes to Rhys.
  11. This set is uncomfortable only in intentional ways. ... In its own eerie vacuum, 8:46, however one wants to define it, is a fascinating snapshot of the moment.
  12. The eight-episode first season ends up more emotionally nourishing than intellectually satisfying. ... The show is structured to make you invest in the men as doctors, while our main concerns about Amanda and Mirtha inevitably revolve around their pregnancies (and resolve to work around them). ... I'm fairly sure that for the directors, the contrasts is intentional, and they'd characterize it as reflecting a specific professional gender divide rather than reinforcing it. The effect is nevertheless limiting and limited.
  13. Yes, Love, Victor is aimed at a younger audience. But the surface-level struggles that Victor undergoes — which, like Simon's, seem more about fitting in and giving up the relative privilege of passing as straight — mean the series misses out on a more resonant story about the specificities of the character's fears of coming out, as they pertain to his faith, his relationship to his parents or his self-image (particularly as a popular, clean-cut athlete). Newcomer Cimino isn't able to provide the depth lacking in the scripts.
  14. A grandiloquent mess.
  15. It's angry and confused in intentional ways, messy and erratically focused in logical ways and a guaranteed conversation-starter certain to generate equal measures of devotion and abrupt dismissal. Over the 12 half-hour episodes, there were many times I wasn't enjoying the show and several points at which I lost track of narrative threads. But my interest never wavered in the audacious and precarious thing that Coel is attempting.
  16. If there's any real reason to recommend Dirty John: The Betty Broderick Story, it's to appreciate the sheer range and volume of characterizations Peet gets to offer. ... I'm not sure how many viewers, especially viewers with no memories of the original case, are likely to be as tolerant in the search for meaning as I was.
  17. Laurel Canyon: A Place in Time is immersive rather than analytical. The director has a sure feel for the essence of the period and its players, and for the social and emotional impact of their songs. Thanks to a superbly curated wealth of material and the ace editing of Anoosh Tertzakian, a world comes alive within the doc's relatively brief running time (the two episodes each clock in under 90 minutes).
  18. While I don't always believe this, it's an experience that plays out with more purity if you come in knowing as little as possible. The whiplash is part of the fun and the fun is more intense if you can treat Quiz as bordering on fiction, a chain being jerked around by two excellent storytellers, facilitated by a cast of familiar faces all in top form.
  19. The ambition is admirable, but the results are bound to be polarizing. For my tastes, these 10 episodes are nowhere near as bracing or hilarious as last year's, while exposing the structural limitations of the series' creative team. But it's also hard to fault a bold showrunner like Youssef for taking as many big swings as he does here.
  20. As an animated family comedy, Central Park is pleasant, amiable and sometimes funny, but probably not hugely impactful. As a musical, Central Park is something wonderful, a joyful and elating experience almost guaranteed to put a smile on your face at a moment when pure pleasure is a welcome salve.
  21. Looney Tunes Cartoons feels right. ... Flaws are more of the personal-preference variety. ... Mostly, though, these are good, solid Looney Tunes entries packed with colorful zaniness, wink-and-nudge references for older viewers, magnificent silent comedy ingenuity for younger audiences and an unquestioned admiration for the property.
  22. The meta, inside baseball side of The Not Too Late Show with Elmo is funny, smart and packed with likable gags and puns and general silliness. ... It's a gimmick that demands careful celebrity curation and the three episodes sent to critics are marked by solid guest selection and participation. ... I dug its for-all-ages hijinks much more than I expected to.
  23. The similarities between the teams — and the announcement at the beginning of the pilot that there will be no elimination in the first episode — makes that hour a particularly repetitive slog. But Legendary's real Achilles heel is its judging. ... There's little coherence about what Legendary's version of vogueing is — let alone what it should be.
  24. This new special is Gadsby's version of a crowd-pleaser, and it's consistently, even boastfully, hilarious. ... If Nanette demonstrated Gadsby's mastery of tone and command of the audience, Douglas is an even richer showcase for the comic's technical prowess.
  25. Space Force just isn't close to consistent — especially in the first half of the season, the misses outweigh the hits — and even as it settles into itself a little more, it's hard to buy all the eventual smoothing out of characters and plot lines from that choppy beginning.
  26. [Barskins] is crowded with scheming characters but thin on reasons to care about them. And the show's Game of Thrones-esque indifference to differentiating its menacing beardos doesn't help. ... Since we know little about each character's past, the transformations they undergo in the New World resonates little. The production is further hobbled by most of the cast speaking in all manner of French (or French-ish-esque) accents, which can make the dialogue sometimes difficult to understand.
  27. AKA Jane Roe is both a must-see film as well as a deeply frustrating one. ... But if AKA Jane Roe is a fascinatingly humanizing tale of the life behind the lawsuit, it also suffers greatly from Sweeney's narrow focus on his subject's theatrical bent and "deathbed confession."
  28. Eye-opening at certain points and self-protectively myopic at others. Viewers will come to Jeffrey Epstein: Filthy Rich with a lot of different needs, expectations or requirements, and those may play a large role in whether or not the result satisfies.
  29. It's a toothless, dull proof-of-concept that any network or service could have produced, made more worrisome if it's also meant to be a toothless, dull proof-of-concept for HBO Max. ... The semi-remarkable thing is how frequently Kendrick holds the show together. She's funny even when the scripts aren't.
  30. Early episodes of Stargirl are an oddly jittery thing. ... The series starts picking up in those fourth and fifth episodes, in which Courtney begins to make friends. ... Bassinger is amiable and chipper. It's hard to say much more about her given that the role is so underwritten that she blends in with other recent blonde-teen-learning-superpowers performances.

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