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 9.3 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
    • 53 Metascore
    • 70 Glenn Garvin
    Fillion and Katic occasionally seem a little too self-conscious--a little smirk goes a long way--but ultimately the characters are too appealing to resist.
    • 66 Metascore
    • 70 Glenn Garvin
    Thomas Jane exudes a convincing odor of despair as Ray. So does Jane Adams as Tanya, one of his former one-night-stands who abandons her abysmally failed career as a poet to become his pimpette. If anything, they're too convincing; the humor in Hung tends to get blotted out by the melancholia.
    • 47 Metascore
    • 70 Glenn Garvin
    Valentine in small doses can be goofy good fun, and there are enough hot bods--including Autumn Reeser of The O.C. as the Oracle of Delphi's handmaiden, Kristoffer Polaha (Mad Men) as Eros and Robert Baker (Leatherheads) as Hercules--to soothe even the deepest political paranoia.
    • 75 Metascore
    • 70 Glenn Garvin
    The Alzheimer's Project, a four-part series that began with two episodes focused on harrowing descriptions of the disease, concludes on a hopeful note with two more outlining research advances.
    • 62 Metascore
    • 70 Glenn Garvin
    Royal Pains has some moments of genuine wit--a lot more of them after Costanzo shows up.
    • 57 Metascore
    • 70 Glenn Garvin
    Actually the dimly befuddled Cleveland works pretty well as a foil to the collection of redneck psycho neighbors, oversexed stepchildren and Russian bears (don't ask) who make up the cast.
    • 65 Metascore
    • 70 Glenn Garvin
    If the imitation is pale, it's also competent. And Schwartzman's wistful but inept romanticism is hard to resist.
    • 69 Metascore
    • 70 Glenn Garvin
    If the genre is no longer groundbreaking, it's still compelling in skilled hands.
    • 41 Metascore
    • 70 Glenn Garvin
    The Beautiful Life, in short, is hopelessly trashy melodrama about hopelessly trashy people. But Paxton, as a tougher-than-she-looks kid with a dark past, and Hollingsworth, as a callow Iowa farmboy trying to make it in the big city, are so unexpectedly affecting that you may find yourself sucked into the show against your will.
    • 72 Metascore
    • 70 Glenn Garvin
    It's only when the action (and the torrential cross-cutting) slows that you start getting to know some of the capable cast....And it's only when the characters begin revealing what they saw while unconscious that FlashForward turns interesting as it examines the interconnectivity of the human experience.
    • 64 Metascore
    • 70 Glenn Garvin
    The Bridge is pure melodrama, its villainous commanders and politicians practically twirling their mustaches as they plot their evil deeds. But if The Bridge won't expand your knowledge of urban-management science, it will keep you glued to the set.
    • 71 Metascore
    • 70 Glenn Garvin
    Until watching The Middle, I would have said it was time the sitcom concept of the madcap mom trying to balance kiddies and career got a decent burial, complete with a stake through the heart. But Heaton and producers Eileen Heisler and DeAnn Heline give the idea new life.
    • 53 Metascore
    • 70 Glenn Garvin
    As a cop drama, Haven--marred by busy and blurry story lines--is barely competent. But as a narrative of eccentric, slightly damaged yet ultimately warm characters, it's quite successful. The deadpan my-badge-is-bigger-than-yours needling between Rose and Bryant is particularly engaging.
    • 62 Metascore
    • 70 Glenn Garvin
    Though it's intended to be a female buddy show in which she plays off Sasha Alexander's coolly uppercrust medical examiner Maura Isles, Harmon definitely gets the upper hand--at least in the pilot episode.
    • 65 Metascore
    • 70 Glenn Garvin
    This remake keeps the scenery and action--exploding cars and AK-47 gunfights appear to be to Honolulu what thieving politicians and senile I-95 motorists are to Miami--but adds some compelling post-9/11 wrinkles.
    • 54 Metascore
    • 70 Glenn Garvin
    The testosterone-infused interplay as they taunt each other over career potholes, curdled marriages and sexual depravities and deprivations is scathing and hilarious, though an astonishing percentage of it cannot even be alluded to here.
    • 65 Metascore
    • 70 Glenn Garvin
    Whether Belushi is using the firm's private detectives to follow his estranged wife, or O'Connell is sleeping with the prosecutor who's trying to put his client in jail ("You really don't like me much, do you?" she asks while taking off her blouse), the show has an irresistible outlaw quality.
    • 75 Metascore
    • 70 Glenn Garvin
    Raising Hope is low in concept, lower in class and lowest of all in shame--but relatively high in laughs, so long as you keep your living room curtains closed so no one can see you watching.
    • 54 Metascore
    • 70 Glenn Garvin
    Watching Crystal fire off demands to Ben while working out on a treadmill wearing high heels and a business suit is wondrously, bizarrely funny. If Mr. Sunshine can relocate moments like that from the show's periphery to its center, it may stick around for a while.
    • 50 Metascore
    • 70 Glenn Garvin
    The sheer power of these stories carries The Kennedys even during the occasional stumbles that result from trying to pack 40 years of history into five and a half hours of programming.
    • 66 Metascore
    • 70 Glenn Garvin
    The show is a rampage of frequently inappropriate and always cuttingly funny jokes about sex, drugs, money and most of all the penthouse/flophouse culture clash between the two characters.
    • 42 Metascore
    • 70 Glenn Garvin
    How to be a Gentleman has some sharp writing, good byplay between the stars and a fair number of laughs.
    • 63 Metascore
    • 70 Glenn Garvin
    That's a lot of stories to tell, and the sweeping Hell on Wheels does a good job of chopping them into bite-size pieces.
    • 75 Metascore
    • 70 Glenn Garvin
    Martin Scorsese's affectionate, exhaustive two-part HBO documentary George Harrison: Living in the Material World. Harrison's easily mocked mysticism has rarely seemed as sincere and hard-won as it does in Scorsese's respectful, 3 1/2-hour profile.
    • 66 Metascore
    • 70 Glenn Garvin
    Beneath its estimable comic trappings, Go On is something larger: a meditation on what makes life worth living.
    • 42 Metascore
    • 70 Glenn Garvin
    Devlin's complex relationship with the gangsters is what elevates The Mob Doctor into something a cut or two above a Grey's Anatomy rip-off.
    • 73 Metascore
    • 70 Glenn Garvin
    Arrow has a rather stylish neo-Goth look, and Stephen Amell (who played a dim-bulb gigolo in Hung) neatly balances his portrayal of Arrow between camp and Saturday-matinee ingenuousness.
    • 61 Metascore
    • 70 Glenn Garvin
    Like True Blood, Banshee can be preposterously entertaining, or perhaps entertainingly preposterous.
    • 62 Metascore
    • 70 Glenn Garvin
    Though dazzlingly plotted and acted, the show is not easily watched.
    • 47 Metascore
    • 70 Glenn Garvin
    An intriguing crime drama.