The Hollywood Reporter's Scores

For 2,039 reviews, this publication has graded:
  • 50% higher than the average critic
  • 4% same as the average critic
  • 46% lower than the average critic
On average, this publication grades 4.1 points lower than other critics. (0-100 point scale)
Average TV Show review score: 62
Highest review score: 100 Brotherhood: Season 1
Lowest review score: 0 Sons Of Hollywood: Season 1
Score distribution:
  1. Mixed: 0 out of 1094
  2. Negative: 0 out of 1094
1094 tv reviews
  1. Every up and down, every inch of the agony and the ecstasy of Apollo is laid out here in an amazing feat of economical writing and direction. [1 Apr 1998]
    • The Hollywood Reporter
  2. On top of the nuanced work from Davies and Jones, the six-part series boasts outstanding performances. Looking through the opposite end of the telescope at present (and controversial) history is often a recipe for disaster, but Years and Years is magnificently agile in the creativity it uses to make it all cohere.
  3. Without the full season to examine at length (out of eight total episodes, I've seen four), who knows what will happen. But I'm loving the direction the third and final season of Legion is going in because the journey has been less about Marvel and more about Hawley and, given the television track record of each, I'll take the latter every time. There's an unmistakable creative energy about each episode of the third season, as if Hawley, his writing staff and collection of directors all gathered around and said, "Let's go out on fire."
  4. Mr. Iglesias isn't bad at all. It lacks the sublime grounding that Rita Moreno and Justina Machado brought to One Day at a Time, but as broad ensemble multi-cams go, this one has its heart in the right place and occasionally tackles topical issues well.
  5. When it's specific and detailed, capturing the depth of Sherman's reporting, it's perceptive and entertaining. ... Less successful are the grandstanding beats where Ailes walks into a situation controlled by some thinly written snowflake duck and makes a big speech dominated by Fox News talking points and then everybody claps at his insight and magnetism. Those are clunky and on-the-nose.
  6. This series is acceptable-but-unremarkable, the occasional perceptive or funny bit lost amid the inoffensively stale or inevitably dated. Watching all 21 minutes of any Alternatino episode won't cause any real pain or irritation, but your life would be lived more efficiently by waiting and checking out whichever clip or two Comedy Central decides it hopes to see go viral each week.
  7. ABC is traditionally the network of camp, which is why it's so disappointing that Grand Hotel proffers even its goofiest storylines with earnest, priggish timidity.
  8. Ultimately, Das Boot looks to be a wonderful find for fans of high-quality international television series with real ambition.
  9. Stylishly crafted but stultifyingly dull. ... Jesus had better be some kind of savior if Too Old to Die Young is going to be more than just a ponderously portentous sleazefest shaken out of its torpor by the occasional bloodbath. [Prime Video only screened episodes 4 and 5]
  10. Fortunately, the reasons for amusement with Los Espookys extend well beyond the title. The half-hour series, from creators Julio Torres, Ana Fabrega and Fred Armisen, is a droll delight, a low-key and absurdist romp in that Baskets or What We Do in the Shadows vein of shows that absolutely won't tickle everybody but will probably generate fierce devotion among the audience able to communicate on its strange wavelength.
  11. Jett is probably a little too derivative for its own good, but through five of its first nine episodes, it marks another fun-but-not-too-deep entry in Cinemax's stable of expanded B-movie genre pieces. And it's a great showcase for Gugino.
  12. City on a Hill feels like a throwback in 2019 because it's not worried about binge-pacing or whether or not you've overcommitted to too many other shows. It has a confidence in its novelistic approach. That's admirable but not without problems, of course: The world building is impressive but the pace is worrisome.
  13. The host started strong and had one sharp musical interlude mid-show, but elsewhere delivered strained comedy bits that felt familiar, safe and thematically generic. ... Thankfully, the Tonys is less about the host than the award recipients and the shows they represent, and on that front, the ceremony delivered some stirring speeches, a couple of stellar performance interludes in an otherwise mixed bag, and some welcome, and long overdue, respect for playwrights.
  14. Thus far, thankfully, the return to Pose isn't disappointing, and its promises, progressive and dramatic, are largely delivered upon.
  15. An early career-defining performance from Zendaya, who is an absolute revelation here; a similarly fantastic breakout performance from trans actress and model Hunter Schafer in her first major role; and strong work from Levinson, who created, wrote and directed (five of the eight episodes), getting the vehicle that emphatically announces his arrival.
  16. One offering is clearly lesser than the other two and one of the rare broad misses that the series sometimes delivers. Ah, but the other two episodes this season are exceptional, a timely reminder that Brooker remains restlessly creative and still enormously interested in the genre, having moved it beyond "tech paranoia" to the aforementioned more nuanced exploration of how technology changes our emotional and intimate connections with loved ones, family and friends.
  17. Each bleak chapter takes you into the shallow waters of a top story already covered in-depth by the Times, following a clockwork episode formula that only serves to intensify an air of sanctimonious artifice: A NYT reporter introduces a controversial event via voiceover narration, interviews the vulnerable victims, adds up the facts for the audience, scrapes together a few hard-hitting soundbites from the villains in the climax and then sprinkles on a brief and bittersweet "where are they now" epilogue.
  18. American Princess might have just been a one-off rom-com in another life, like a Ren Faire-set Overboard, but the show soon settles into something smarter, darker and emotionally richer than its high-concept fish-out-of-troubled-water conceit might indicate.
  19. Through its first six episodes, NOS4A2 is a shockingly unscary horror drama prone to ill-considered detours and over-explained supernatural machinations, while wallowing in entirely too many blue-collar cliches and variable Massachusetts accents. A solid cast, some showy makeup and the occasional inspired bit of imagery all get the life sucked right out of them, the only way that the show's clunky pun of a title is at all worthwhile.
  20. While two episodes isn't normally enough to fully establish a tone, this pair are beautiful and funny and unleash on the viewer a bevy of excellent characters.
  21. Big Little Lies is returning in summer blockbuster season and with Streep in control, the series may be shifting from dark comedy, mystery and commentary on gender politics to full-on actorly action. I might miss the murder mystery a little, but this is more than a good substitute.
  22. It's a decent enough origin story carried by a surprisingly good ensemble cast and the assertive direction of Len Wiseman.
  23. The end result is a feel-good romp and creative triumph that is easily digestible and never flags in search of entertainment.
  24. The six new episodes are littered with elements to admire and respect when you aren't bogged down in feeling like a show that once appeared to have a lot to say is no longer participating in the conversation on the same level.
  25. What/If basically rips off Indecent Proposal and then admits to doing so, as if that's a clever thing. The series stars a miscast Renée Zellweger as Anne Montgomery. ... [The episodes] are larded with bad writing, dubious editing choices and the kind of weightless fluff that props up most network soap operas.
  26. Harrelson's work, and perhaps the entire All in the Family episode, peaked with a marvelously off-key rendition of the theme song. ... The pacing of the Jeffersons episode was far better than that of All in the Family, or maybe it's just that I appreciated how well Foxx and Sykes were working off each other. Throw in format legends like Jackée Harry and the great Marla Gibbs, and this became a multicam master class.
  27. The characters on Vida often behave stupidly, but this is a smart, smart show, one that looks at culture on high and low levels, from debates about the flavor and significance of Valentina hot sauce to a point-by-point breakdown of Anne Lamott's Bird by Bird.
  28. Turturro is in many ways the best thing about the show, diving into the material's complexity and bringing a steadying screen presence to what, in short order, becomes a real mess.
  29. What you never get here is a single character or idea that comes across as fresh or distinctive or takes the genre any place even vaguely new.
  30. [Creator/director Ava DuVernay] sometimes prioritizes the intellectual over the emotional or intentionally leaves big gaps in time and perspective. But her choices never feel haphazard. The material mines profound outrage, and the note-perfect ensemble lends it heart.

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