The Hollywood Reporter's Scores

For 2,795 reviews, this publication has graded:
  • 45% higher than the average critic
  • 4% same as the average critic
  • 51% lower than the average critic
On average, this publication grades 5 points lower than other critics. (0-100 point scale)
Average TV Show review score: 62
Highest review score: 100 Top Of The Lake: Season 1
Lowest review score: 0 Do No Harm: Season 1
Score distribution:
  1. Mixed: 0 out of 1458
  2. Negative: 0 out of 1458
1458 tv reviews
  1. The fourth season of Westworld is business as usual. It’s two episodes of comically elongated resetting of the pieces on this futuristic chessboard, followed by two episodes in which some of the ideas are provocative or at least amusing.
  2. The show still has a bit of work to do when it comes to carving out its own distinctive voice; despite Cucu’s talk of forging her own path, freed from the expectations of both American and Dominican culture, the series has yet to play any notes that sound truly new. But like its heroine, Gordita Chronicles shows the potential to grow into something special — and also like its heroine, it’s sweet enough to earn our patience while finding its way there.
  3. There’s a lot to enjoy about Loot, starting with its timely narrative and solid showcase for some of Maya Rudolph’s myriad skills. At the same time, it’s very much a show you’ll keep watching more for its potential than its immediately execution.
  4. The first side of the documentary is sometimes repetitive and the second side underserved, but Mind Over Murder remains a provocative thing, defying any kind of simple hero/villain/victim classifications.
  5. The season climaxes in well-earned, nearly unwatchable pandemonium, and then in emotional resolutions that are perhaps too tidy. I mostly bought into the intensity and delirium of the journey without always being sure if it was a trip I was enjoying.
  6. The finale braids together the series’ many narrative throughlines with enough tearjerking emotion to earn the already-greenlit second season — though it’s telling that even then, the most affecting moments emerge from the family units and friendships and not from the ostensible couplings.
  7. The new and improved Nathan makes for a far more likable character than the clueless, self-absorbed son of privilege we met last year. But having allowed the character to evolve, Rutherford Falls seems at a loss with what to do with him anymore. ... Rutherford Falls‘ humor runs more wry than gut-busting, this time with even less emotionally explosive drama to tip it off course. And the show hasn’t lost its knack for balancing big-hearted comedy with incisive cultural commentary.
  8. Players requires a general emotional investment to carry you through the long stretches when its tongue isn’t even in its topical cheek.
  9. Becoming Elizabeth grants the future monarch some of the agency that she claims to have been denied — and that the inevitability of history too often robs of its most influential figures. In the process, it turns a centuries-old tale into something both timeless and fresh.
  10. It’s a prelude, and as much as I wish it could have been presented with more efficiency and then launched into a more tightly plotted first season, the pieces are now in place for this world to open up.
  11. The disappointment of First Kill is that the show itself feels like something that can only be loved moderately. It’s a pleasant distraction that goes down easy enough — but it comes nowhere near capturing the all-encompassing allure of a really irresistible binge, let alone of a forbidden first love.
  12. Despite the heavy premise, the series as a whole is surprisingly light on its feet. Sure, here and there are painful excavations of trauma or equally tear-jerking moments of defiant joy. But for the most part, the series allows its characters to be every bit as messy or silly or sexy or serious after the shooting as they were before.
  13. As a thriller, The Old Man doesn’t always deliver. Its internal logic is fitful and its backstory perfunctory. As a showcase for Bridges and John Lithgow, the rare performer nearly able to match his co-star indelible role for indelible role, The Old Man is far more satisfying, though audiences are going to yearn for more direct interaction between the two note-perfect leads and less of the genre filler that extends three of the four episodes sent to critics to over an hour.
  14. In letting Kamala’s story shine on its own terms, Ms. Marvel offers us the very thing she herself never found in all her fangirling: the uplifting vision of a brown girl from Jersey City who saves the world.
  15. The series hasn’t lost its bitterness or its bite, and the chilling final shots of the finale should wipe out any fears to that effect. But as season three reminds us, the punches hit harder when there’s something worth fighting for.
  16. Through the first half of the 10-episode second season, on top of its various storytelling pleasures, P-Valley proves a more-than-capable vehicle through which to process a complicated moment in history.
  17. One of the best medical dramas to hit the small screen in years. It’s an emotionally complex and uneasily hilarious examination of the U.K.’s National Health Service and a prickly character study played with a rich disinterest in likability by Ben Whishaw.
  18. A breezy watch. But Pistol is too busy admiring the youthful rebellion of the past to recognize that, in doing so, it’s become the very thing its subjects once sneered at: a safe, mainstream crowd-pleaser.
  19. Above all, Obi-Wan Kenobi works because its protagonist does. McGregor, a consistent highlight of the prequel trilogy, is as every bit as good if not better here.
  20. I don’t think I ever doubted that Keeso and Tierney would find a way to make Shoresy puerile and they absolutely deliver. What’s more impressive is how the series uncovers its own brand of cleverness and wordplay, rarely as smart or charming as the conversations between Wayne, Daryl, Squirrelly Dan and Katy, but varied enough that the new show isn’t exclusively locker room humor. ... It’s got much more depth than I expected.
  21. This thoughtful exploration of the couple’s artistic collaborations and offscreen relationship offers surprises at every turn and, with no prefab treatise to prove, it gets under the skin. ... The series is haunting as well as celebratory, filled with reminders of unsung triumphs and forgotten corners of the filmographies and stage work. Fans both ardent and casual will find plenty to savor.
  22. This Irma Vep is loose and intellectually loopy, broad and jokey one moment and wallowing in sad self-absorption the next. One might compare it to the current season of HBO’s Barry, only with more pretensions, which definitely isn’t a bad thing — though I’m not sure after the three episodes (out of eight total) premiering at this year’s Cannes Film Festival if Assayas has a conclusive point he wants to make, or if he’s just noodling again on an art form in perpetual transition.
  23. The fourth season of Stranger Things is the biggest, scariest, most ambitious Stranger Things season yet. It’s also the least charming, least funny and least inventive season yet, which doesn’t mean that those elements are wholly lacking, just that the effort to concentrate on moments of human relatability often gets overwhelmed by the attempts at scale.
  24. Night Sky is a series that feels like it’s treating its first season mostly as prelude, and by the finale it hits the beats most viewers will have grown impatient waiting for. Spacek and Simmons keep those eight hours from being a chore, and there’s potential going forward for something more engrossing.
  25. Over eight hourlong episodes, thinly drawn characters and sleepy pacing hold the series back from reaching its full potential — and unlike the awful night in question, Now & Then proves all too easy to forget.
  26. The cleverness of Angelyne comes and goes and its intellectual points range from perceptive to half-baked in what ultimately feels like a Charlie Kaufman-lite feature film stretched — thankfully only to five hours — by the demands of streaming television.
  27. The point ultimately is to treasure the record that Carlin left and to lament that that record didn’t include two or three decades more of scathing commentary and reflection — both the taking down of politicians and sacred cows and the fart jokes and funny voices. Here it largely succeeds, and four hours spent listening to George Carlin is four hours well spent.
  28. Theo James and Rose Leslie are] done no favors by a narrative that never seems to have wondered who Clare, especially, is beyond a time traveler’s wife — nor by their inability to generate any real sparks between them, much less any brilliant enough to serve as a beacon through space and time. ... The Time Traveler’s Wife fails so direly to mine any romance from its central premise that it starts to build a case for the opposite.
  29. It works beautifully as a drama about complicated characters tangled in relationships unable to be contained by the conventional boundaries of romance or friendship, and about the ways humans will try to impose order or sense where none can be found.
  30. Netflix’s new legal drama The Lincoln Lawyer is at least somewhat entertaining for a show with a bland central character, as many as three generally bland simultaneous plotlines and no notable perspective on the criminal justice system circa 2022.

Top Trailers