The Oregonian's Scores

  • TV
For 252 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 1.3 points higher than other critics. (0-100 point scale)
Average TV Show review score: 68
Highest review score: 100 The Handmaid's Tale: Season 1
Lowest review score: 10 Vice Principals: Season 1
Score distribution:
  1. Mixed: 0 out of 162
  2. Negative: 0 out of 162
162 tv reviews
  1. With the exception of a few highlights, mostly involving returning hosts Tina Fey and Amy Poehler’s opening monologue, and touching speeches by Taylor Simone Ledward, accepting a best actor in a motion picture drama award for her late husband, Chadwick Boseman, and Lee Isaac Chung (and his daughter), accepting the best foreign-language film prize for “Minari,” Sunday’s Golden Globe Awards show was a mess.
  2. “The Black Church” feels a bit rushed toward the end, as Gates tries to address the ongoing horrors of racial violence, police killings of unarmed Black men, and younger activists finding the Church doesn’t reflect their progressive views. But even with its flaws, “The Black Church” flows like a river, carrying viewers forward in the tradition of the glorious music that has been an essential element of worship for centuries.
  3. What “Allen v. Farrow” does most effectively is illustrate how what happened – or didn’t happen – can make us examine our own preconceived notions. As with the HBO documentary, “Leaving Neverland,” which explored allegations of sexual abuse leveled against the late Michael Jackson, “Allen v Farrow” makes you think about who you believe, what you believe, and why.
  4. Latifah’s presence gives it a little something extra. Her charismatic underplaying draws you in, and adds a sense of mystery even when the writing is clunkily obvious. ... “The Equalizer” packs enough action to satisfy its post-Super Bowl audience, most likely. But it’s refreshing to see a few quieter moments of insight, mixed in with the good guys prevailing.
  5. Coming at a time when everything seems stressful and difficult, the new “All Creatures Great and Small” feels as comforting as a cup of tea, as warming as a fleecy blanket on a cold night, and as welcoming as a fire burning indoors while the winter wind blows outside. ... The perfect show for this imperfect moment.
  6. Whether rising to consult a dictionary, delivering a full-throated rendering of the all-star swear word, or simply sending up the mock seriousness of the enterprise with wry humor, Cage’s appearances are genuine highlights. If only the rest of the series were as consistent.
  7. So far, at least, “Call Me Kat” isn’t likely to appeal to people who like to point out that they’ve never seen an episode of “The Big Bang Theory.” But, based on the first four episodes available for preview, “Call Me Kat” is unpretentious, eager to be liked, and easy to take.
  8. “Bridgerton” is more fun, perceptive and affecting than the shorthand description makes it sound. The first episode is a bit slow and unfocused, but after that, the characters emerge as complex, and the show takes flight.
  9. Based on the first four episodes available for preview, “Your Honor” unfortunately doesn’t match the tension of that fateful early sequence. But the 10-episode series does serve up tasty performances, knotty ethical issues, attempts to explore racial injustice in the legal system, crime story theatrics and nagging questions about why its characters do what they do.
  10. [Lady Diana Spencer (Emma Corrin)'s] transformation from the “Shy Di” young wife of Prince Charles (Josh O’Connor) to the desperately unhappy, but increasingly popular, Princess of Wales gives Season 4 a propulsive energy. Equally riveting are storylines involving Margaret Thatcher (played with clenched-jaw virtuosity by Gillian Anderson). ... If anything, Season 4 of “The Crown” suffers from an overabundance of plotlines that beg for more attention.
  11. While “Moonbase 8” is often more relaxed than laugh-out-loud funny, it’s a step up from Netflix’s “Space Force,” which tried way too hard and wound up being seriously underwhelming.
  12. Laurie’s witty touch helps keeps things afloat, even when “Roadkill” loses velocity because of clumsy plotting and some too-blatant declarations of character flaws.
  13. [The actors are] all perfectly fine, and Adams and McDorman are at times, better than fine. The rest of the cast is solid, with good work from actresses who play the all-too-often long-suffering wives of the Mercury Seven. ... “The Right Stuff” feels like a band playing the hits we’ve already heard way too many times already.
  14. Even as tension builds, it’s a treat to hear pungent dialogue, revel in artful cinematography and evocative music, and get caught up in a story that’s a bit too sprawling, but makes us wonder what happens next.
  15. Unfortunately, “Ratched” turns out to be a bloody bore. The eight-episode series is less a character study than it is a horror show, where the gore spills all over nifty period costumes and fancy production design.
  16. Sharp though some of the writing is, “Coastal Elites” never challenges the moral superiority of its characters, and so they mostly come off as predictable, making predictable points.
  17. Comfortably formulaic.. ... “Away” may not boldly go where no show has gone before, but it reminds us that watching likable people doing their best provides its own simple pleasures.
  18. It’s all dazzling, if sometimes disorienting. After five episodes, it’s hard to know where “Lovecraft Country” is going. But even if it careens off the rails, the show has so much creativity and passion it’s a ride worth taking, wherever it leads.
  19. Though the “Westworld” parallel applies to the affluent creeps-exploiting-the-poor in an amusement park narrative, “Brave New World” is much more rewarding to watch. Attention-getting scenes of good-looking people having orgies aside, “Brave New World” benefits from a dark wit -- which the grimly self-important “Westworld” has always lacked -- and which keeps it watchable.
  20. What makes “Perry Mason” absorbing is how well the show balances the sorrow of the case Mason is investigating – an infant has been kidnapped, and killed – with vintage touches, including a terrific cast.
  21. The delightfully funny, sharp “Sherman’s Showcase Black History Month Spectacular” is a welcome return from writers and stars Bashir Salahuddin and Diallo Riddle.
  22. Lakshmi links her personal experience with the areas that she visits, which makes “Taste the Nation” feel both personal and universal.
  23. About halfway through the 10 episodes, “Space Force” starts to get better, and settle down a bit, as the multiple characters begin to bounce off each other, and we get more of a sense of the show as a workplace comedy.
  24. The “Parks and Recreation” special made the most of its brisk running time, packing in lovely moments for the characters, and gently delivering the message that we need to take care of our emotional and mental health as we quarantine during these anxious times.
  25. The early episodes of “Hollywood” are an entertaining mix of earnest inclusiveness and dishy wallow in showbiz lore. But, like those Murphy-produced TV series that went on too long, by the end, “Hollywood” is floating on so many alt-history good vibrations that it becomes less of a celebration, and more of a lecture.
  26. The eight-part limited series does a good job of making us feel the parents’ uncertainty about whether Jacob is innocent or guilty. But that suspense is made to carry too much of the load for the relaxed pace of the show, which takes its own sweet time drawing us in.
  27. The show’s half-hearted effort to mock dating show clichés doesn’t blend too well with its half-hearted purpose, to supposedly help the good-looking narcissists achieve personal growth and build deeper relationships. ... A fairly witless excursion, with a batch of characters who seem like they were created in a reality show writers’ room.
  28. From the lead roles to the ensemble, “Mrs. America” has a fabulous cast, and the writing gives them plenty to work with. Blanchett is totally in command as Schlafly. ... “Mrs. America” is one of the best shows so far this year, and it’s worth seeking out.
  29. There are few voices included who are critical of its subject. “Hillary” is a generally flattering portrait, which makes it less grueling to watch than cacophonous cable news shows, but also muffles its impact.
  30. Garland’s vision is in the forefront here, and the result is a limited series with a frosty emotional tone, and a story heavy on cutting-edge techno-speak, but skimpy when it comes to characterization.

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