For 430 reviews, this critic has graded:
  • 54% higher than the average critic
  • 1% same as the average critic
  • 45% lower than the average critic
On average, this critic grades 9.4 points lower than other critics. (0-100 point scale)

Glenn Garvin's Scores

Average review score: 55
Highest review score: 100 Invasion: Season 1
Lowest review score: 0 The Newsroom: Season 1
Score distribution:
430 tv reviews
    • 64 Metascore
    • 80 Glenn Garvin
    Watching him color in the lines of his own personality is fascinating. [19 Sept 2002]
    • Miami Herald
    • 48 Metascore
    • 80 Glenn Garvin
    It's more like M*A*S*H* for the four-legged, a subversive and perversely funny workplace comedy.
    • 64 Metascore
    • 80 Glenn Garvin
    Revolution is big, bold and brassy adventure, a cowboys-and-Indians story for end times.
    • 62 Metascore
    • 80 Glenn Garvin
    Crisply written and acted, grafting some Enron-era scandal onto a morality tale that goes back to Faust, 666 Park Avenue gives good goosebump.
    • 74 Metascore
    • 80 Glenn Garvin
    Last Resort's premise alone promises a pretty good action thriller. But co-creator (with Karl Gajusek) and writer Shawn Ryan has produced something much bigger and better than an exercise in bang-bang.
    • 38 Metascore
    • 80 Glenn Garvin
    Guys With Kids is a perfect confection of witty dialogue and slapstick action.
    • 47 Metascore
    • 80 Glenn Garvin
    A show with the twin themes that life is high school and the past cannot be escaped sounds inordinately depressing, but the writing and performances on Emily rise far above the apparent limitations.
    • 48 Metascore
    • 80 Glenn Garvin
    It’s entertaining and engrossing.
    • 74 Metascore
    • 80 Glenn Garvin
    The uncommon acuity of Boyd's script is immeasurably bolstered by an outstanding female cast.
    • 77 Metascore
    • 80 Glenn Garvin
    The show is not without the occasional car chase, but its real strength is in its evocation of the schizoid paranoia of the double life of intelligence.
    • 81 Metascore
    • 80 Glenn Garvin
    [Glory Hounds] is too grim to be poetry. Though, like all true war stories, it is something of a love story; and like all true love stories, it will break your heart.
    • 63 Metascore
    • 80 Glenn Garvin
    Happily, Golden Boy not only manages a fairly original take on cop shows but actually turns out to be surprisingly intriguing.
    • 50 Metascore
    • 80 Glenn Garvin
    Much edgier in confronting issues of class and ethnicity. But it never loses its sense of humor. [19 Sept 2002]
    • Miami Herald
    • 72 Metascore
    • 80 Glenn Garvin
    Based on the pilot episode--with its taut script, strong performances and special effects that are impressive without being overwhelming--there’s hope that Under The Dome might measure up to its unsettling print progenitor.
    • 76 Metascore
    • 80 Glenn Garvin
    In The Flesh at first seems to be offering itself as a fractured metaphor, with zombies standing in for blacks, gays, Muslims or the social victim of your choice. But the show quickly veers into something sweeter, sadder and more thoughtful--a meditation on forgiveness, redemption and second chances.
    • 60 Metascore
    • 80 Glenn Garvin
    Cutler’s documentary The World According to Dick Cheney is a rousing piece of work.
    • 65 Metascore
    • 80 Glenn Garvin
    Durst’s books all offer the same engaging elements that the BBC makes such excellent use of in this two-part miniseries: The claustrophobic lifeboat atmosphere of a society teetering toward its doom.
    • 58 Metascore
    • 80 Glenn Garvin
    The answers unfold with a delicious tension that makes Graceland an unexpected pleasure.
    • 58 Metascore
    • 80 Glenn Garvin
    The subtext of loss and longing, which sometimes isn’t all that sub, makes The Crazy Ones a tightrope act. But Kelley gets tremendous support from his cast. The madcap Williams has never been better, and Gellar’s performance is a magnificently winning mixture of quiet desperation, mounting rage and wistful yearning.
    • 75 Metascore
    • 80 Glenn Garvin
    Schreiber’s powerful portrayal of a man whose elemental rage is on a collision course with a rising moral consciousness is the driving engine of Ray Donovan. But it may not even be the show’s best performance.
    • 43 Metascore
    • 80 Glenn Garvin
    Sean Saves the World is like a comedy cruise to self-discovery, with both Sean and his daughter learning of strengths and weaknesses they didn’t know they had, the process punctuated with keenly funny dialogue and precision timing.
    • 64 Metascore
    • 80 Glenn Garvin
    The Michael J. Fox Show (which debuts with back-to-back episodes) is never cloying or condescending. And any time it seems to be veering toward disease-of-the-week-movie territory, you can be sure that lampoon is on the way.
    • 46 Metascore
    • 80 Glenn Garvin
    What makes Welcome to the Family interesting, and rather sweet, is that it confounds expectations.
    • 59 Metascore
    • 80 Glenn Garvin
    No matter who’s on screen or what they’re doing, Back in the Game is gut-bustingly hilarious.
    • 71 Metascore
    • 80 Glenn Garvin
    The result is a blend that’s sometimes funny, occasionally poignant and fitfully horrifying. There are flashes of a Nixon rarely glimpsed or perhaps even suspected.
    • 59 Metascore
    • 80 Glenn Garvin
    Not since HBO’s The Wire left the air five years ago has a television series combined urban decay and moral decrepitude in such stark--and yet compulsively watchable--terms.
    • 55 Metascore
    • 80 Glenn Garvin
    Watching this conspiracy, class warfare and romantic indiscretion collide makes for a hugely engaging show, all the more so because of the lushly photographed Victorian settings and droll dialogue.
    • 38 Metascore
    • 80 Glenn Garvin
    A dark gem of a show.
    • 63 Metascore
    • 80 Glenn Garvin
    Akerman has wit and style, and so does the show.
    • 46 Metascore
    • 80 Glenn Garvin
    [An] amusing, endearing, female-buddy sitcom.