The Hollywood Reporter's Scores

For 2,537 reviews, this publication has graded:
  • 47% higher than the average critic
  • 4% same as the average critic
  • 49% lower than the average critic
On average, this publication grades 4.7 points lower than other critics. (0-100 point scale)
Average TV Show review score: 62
Highest review score: 100 The Larry Sanders Show: Season 1
Lowest review score: 0 Stalker: Season 1
Score distribution:
  1. Mixed: 0 out of 1338
  2. Negative: 0 out of 1338
1338 tv reviews
  1. If you accept going in that Physical is a dark and tormented character study propelled by an ultra-intense performance from Rose Byrne, there are things to be engaged by. But I’ve rarely seen a show more committed to following storylines I didn’t care about at the expense of its best assets. ... After 10 episodes, I can’t say Physical has inspired me to become that inner voice motivating you to watch.
  2. I wasn’t individually blown away by any one single episode like I was with “Hype Man.” Instead, I was collectively impressed with how well the new season maintains its creative momentum. No, Dave isn’t quite on the level of Atlanta, but some of the tonal swings that creators Dave Burd and Jeff Schaffer are taking are comparably ambitious, even if they’re frequently buried in that aforementioned onslaught of penis jokes.
  3. The pilot is a promising start. The next two episodes, whether they’re focusing on the bad multi-cam or Allison’s budding friendship with former flame Sam (Raymond Lee), feel flat. The fourth episode begins steering the show toward something darker and more potent. ... There’s a series here. I’m just not sure if it’s worthy of the premise.
  4. Through the six episodes sent to critics, this Blindspotting quickly settles into its own confident voice, and the characters, especially the new faces, are proving to be appealing vehicles for some of the same themes and more.
  5. There are cracks in this too-flashy veneer that appear with the application of pressure. Some imperfections, though, don’t detract from the gravitational force of Omar Sy’s star power, from the healing escapism of the Parisian settings or the show’s satisfying propulsion.
  6. Waldron finds just enough different ways to keep inserting more information, and director Kate Herron effectively makes Loki feel like more than a series of mythology dumps. ... Having set everything up to an exhausting degree, things could be lined up to get really entertaining. ... Or Loki might just be a lot of Hiddleston and Wilson talking, which might still be engaging for six episodes, but will surely require Marvel course correction, once the audience murmuring begins.
  7. We Are Lady Parts is not always laugh-out-loud funny, but it’s sharp and quick witted, with Manzoor’s writing and the zesty style (some episodes emphasize Amina’s overactive imagination, bringing her daydreams to visual life with lots of pink and the occasional puppet) elevating the comedic moments. The performances — dynamic, confident, seamless in hitting different emotional beats — also add to the show’s affecting quality.
  8. If you can withstand the early earnestness, the lack of subtextual consistency shouldn’t be a problem, and so much of Sweet Tooth lands exactly on its desired terms. The performances are sturdy, the action scenes thrilling and Jeff Grace’s score conveys the right notes of adventure and melodrama.
  9. Betty is best when it gives viewers the near-documentary sense that they’re just embedded with these young women. Things come together beautifully by the season finale.
  10. Tuca & Bertie remains a unique blend of exuberant surrealism, cut-to-the-bone psychology and thoroughly relatable camaraderie. ... The four episodes sent to critics are delightfully weird.
  11. Martin was the revelation of the first season, an inexperienced lead who immediately displayed astonishing on-screen ease with both comedy and pathos. The second season somehow amplifies the two extremes of the performance perfectly. ... These episodes rush by, perhaps too quickly, with an abruptly resolved series finale.
  12. The instantly embraceable animation and great vocal cast — Kudrow, DuVall and Webb were my early favorites — point to ample potential and the possibility that the show’s take on “This is what your pets are REALLY thinking!” might sooner or later advance into something more interesting (and a bit funnier).
  13. Creator Lauren Oliver, who adapts her own 2014 novel, only offers an underdeveloped featurelessness in her characters, their relationships to one another and especially her present-day setting of a dusty Nowheresville. There’s little to focus on but the absurdities of Panic, given how generic the series’ characters are and how inexplicably they act.
  14. An enlightening new Netflix docuseries.
  15. A relentlessly busy 104 minutes that yield an impressive array of funny and emotional moments likely to generally, if not fully, satisfy many or even most dedicated fans.
  16. The overall problem in Lisey’s Story generally doesn’t concern the actors — or the director, since Larrain gives every frame intimacy, however much you sense his desire to buck the increased linearity of the story. No, the problem is the all-too-palpable battle between fidelity to a text and compatibility to a medium.
  17. The clear standout for me was Ramos and the Eladio story, which has the perfect In Treatment combination of centerpiece performance, deliberately presented character arc and reactive material for the therapist. ... Moments of distraction were limited, the result of great actors being steered through emotionally wide-ranging writing by directors — Michelle MacLaren and then Julian Farino — who keep the show from ever feeling stage-bound. This is a show meant to feel of-the-moment to any moment it’s in.
  18. Amazon’s Solos, a monologue-driven, single-set, vaguely sci-fi anthology drama that might inspire even the most earnest acting student to roll their eyes at its lazy self-indulgence and overwrought intensity.
  19. Ultimately, it’s the celebrity or celebrity-associated tales that stand out most — not because they’re famous, but, at least in the first three episodes, because they’re the most candid about their experiences.
  20. As a work of curation, it’s endlessly eye-opening, even for those well versed in the period. ... To this team’s credit, the series never reaches for a grand-gesture summing-up. Instead it drills in on turning points in the careers of particularly influential and emblematic artists.
  21. A strange exercise in nostalgia for a mode of shooting nobody is nostalgic for. Despite moderate creativity, The Bite‘s dated limitations outweigh its pleasures.
  22. The voices and pell-mell references are the biggest reason why a 10-episode weekend binge of Marvel’s MODOK amounted to such easy, quickly digested entertainment. Whether or not you think the series wants to amount to more than that — and I feel like it really does, and perhaps someday could — depends on you.
  23. It’s in the final two episodes that this season becomes an essential chapter of the show, first by illustrating, with a warm and grounded intimacy, the lengths Alicia will go for the kind of love she craves in her life. But it’s the last episode that truly dazzles, pushing Master of None out of its comfort zone of lovelorn pining into emotional and ethical complexities that never lose their sense of headlong romance. Master of None has, finally and indisputably, grown up.
  24. Run the World marries aspirational gloss with emotional groundedness to familiar but appealing effect.
    • 65 Metascore
    • 80 Critic Score
    What makes all of that work so well here is a combination of credible acting, suspenseful filming and special effects that, especially in the second part, go beyond what you'd expect from the small screen. [17 June 2004]
    • The Hollywood Reporter
  25. Over five episodes, the series is littered with incidents that seem like they could be focal events if only Halston had focus, or structuring devices if only the show had structure.
  26. It has been made with a scholar’s eye toward intersectionality and marginalized figures within already marginalized communities. I find that to be remarkable and entirely admirable, even if the series itself is very much, almost by design, hit-and-miss.
  27. There’s a schematic quality to the series’ foundation that Hacks mostly fails to outgrow in the first six of its 10 episodes. Deborah and Ava’s boomer-versus-millennial, heartland-versus-the-coasts, experience-versus-innovation tensions are constantly telegraphed without becoming organic to the characters. Occasionally, their differences can lead to interesting discussions.
  28. All The Upshaws’ jokes might well be a couple decades old, but there’s also a laudable attempt here at a different kind of family sitcom.
  29. There are original documents and revelations here, but they aren’t always presented in a way that lets you know what’s new and notable about them. ... The Crime of the Century is good instead of great.

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