Genevieve Valentine

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For 22 reviews, this critic has graded:
  • 63% higher than the average critic
  • 0% same as the average critic
  • 37% lower than the average critic
On average, this critic grades 2.1 points higher than other critics. (0-100 point scale)

Genevieve Valentine's Scores

Average review score: 69
Highest review score: 91 Jonathan Strange & Mr. Norrell
Lowest review score: 0 Stalker: Season 1
Score distribution:
  1. Positive: 17 out of 22
  2. Negative: 1 out of 22
22 tv reviews
    • 85 Metascore
    • 91 Genevieve Valentine
    The Affair is both quietly unsettling and impossible to look away from.
    • 82 Metascore
    • 91 Genevieve Valentine
    From its first golden images of drowning to the drawing-room showdowns on a dark and stormy night, And Then There Were None is a triumph of atmosphere and an adaptation bold enough to make you uncomfortable to the very last.
    • 73 Metascore
    • 91 Genevieve Valentine
    Skillfully directed, impeccably designed, and brilliantly cast, Jonathan Strange & Mr Norrell is as charming, and as dark, as it could ever hope to be.
    • 73 Metascore
    • 83 Genevieve Valentine
    It would be impossible to deliver something as bleak, unsettling, and compelling as [David Bowie's] “Blackstar” has posthumously become, but more often than not, when it counts, The Last Panthers delivers.
    • 79 Metascore
    • 83 Genevieve Valentine
    Deutschland 83 is a stylish take on the spy genre that carefully balances its humor with high stakes, and with Nay as an anchor, promises that this is a spy caper worth a few summer weeks.
    • 77 Metascore
    • 83 Genevieve Valentine
    On the strength of its cast, the beauty of its design, and the sheer joy it gets from its homages, it’s the sort of dreadful that’s mostly a delight.
    • 69 Metascore
    • 83 Genevieve Valentine
    A well-acted romp that carries just enough weight to justify tuning in, The Musketeers is a campy delight; no one ever hands over a blade when tossing one with a flourish will do, and this time, that’s just as it should be.
    • 87 Metascore
    • 83 Genevieve Valentine
    Thanks to the six-hour order, there’s no shortage of subplots for the many returning faces, all of which still smartly stay close to the community hearth.
    • 77 Metascore
    • 75 Genevieve Valentine
    A key to the series’ success and longevity will be how well it’s able to balance the insider spoof with the satire and offer moments that do more than just painstakingly re-create; moments that remind us of the absurdities of the form and the ways we’ve been trained to see through a story.
    • 77 Metascore
    • 75 Genevieve Valentine
    Favored storylines get sufficient weight and heft, but balancing its disparate narratives has never been Vikings’ strong suit, and though it feels as though there’s a definite endgame in mind, the middle can occasionally be rough going. Still, with a cast as game as ever and plenty of plot to slash through, this year’s Vikings promises a sometimes-messy season as swiftly entertaining as the last.
    • 57 Metascore
    • 75 Genevieve Valentine
    Many things are left up in the air by movie’s end that it’s hard to imagine making this for any other reason than to introduce a series. But there’s also a pulpy enthusiasm surrounding its many twists and loopholes.
    • 52 Metascore
    • 67 Genevieve Valentine
    While Houdini And Doyle is exactly as light as that sounds, and is a little uneven in its early episodes, it also wisely aspires to nothing greater than a good time.
    • 51 Metascore
    • 67 Genevieve Valentine
    Most of the show’s meta so far is an expected but amusing sketch of celebrity has-been-ism.
    • 64 Metascore
    • 67 Genevieve Valentine
    Petals On The Wind largely skews a bit underbaked to meet the promise of its own third act, and lacks the strength of Ellen Burstyn as its central figure, but there’s enough of the all-out V.C. Andrews flavor to make this installment worth a look for those who want to catch up with a family of soap people 30 years in the making.
    • 51 Metascore
    • 67 Genevieve Valentine
    In itself, Houdini’s script is solid.... However, whether Meyer-penned or network-mandated, the miniseries’ voice-over drains a critical amount of energy from the miniseries.
    • 49 Metascore
    • 67 Genevieve Valentine
    Perhaps, because it was unwilling to risk becoming camp, this Flowers can’t achieve the necessary passion, either--Corinne’s viciousness is lost in the shuffle, and volatile Cathy and confused Christopher remain sketches of real characters, whose love never becomes the lifelong connection that takes them by surprise and desperately rushes them toward freedom.
    • 68 Metascore
    • 67 Genevieve Valentine
    If it all sounds a little by-the-numbers, it is. But part of the fun of both Westerns and pulp revenge stories is setting up the tropes to play with them later, so Wynonna Earp could just be getting a few things out of the way before the shenanigans really get started.
    • 60 Metascore
    • 58 Genevieve Valentine
    There’s a lack of early hooks, even in moments that stood out in Lily Koppel’s source biography.... That’s too bad, since whenever The Astronaut Wives Club does manage to bring its veteran cast, summer-pastel aesthetics, and its historical context together, there are glimpses of a very interesting show.
    • 52 Metascore
    • 58 Genevieve Valentine
    Though there’s plenty of reasons to mourn a show that’s covering up its central emptiness with so much narrative busy work, there are glimmers of hope that maybe, if the show gains some footing in its second act, it might still find itself in time.
    • 60 Metascore
    • 50 Genevieve Valentine
    Overall, the pilot stalls with the usual introductions, setup, and by-the-numbers twists. There’s a dogged sense of purpose behind it that could, if thoughtfully explored, become a low-budget thriller for a network that’s taking some steps into a brave new world, but there’s an awful lot hanging on that “thoughtfully.”
    • 48 Metascore
    • 42 Genevieve Valentine
    Unfortunately, that suggestion of recklessness doesn’t extend to the dialogue, which feels like a focus group’s idea of what young people do (propose, have jobs) and joke about (Google), and borrows liberally from long-familiar punchlines.
    • 17 Metascore
    • 0 Genevieve Valentine
    Stalker is only vaguely concerned with victim psychology. As a show that must, by its very premise, pick sides, Stalker tips eagerly toward the wrong one.

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