For 554 reviews, this critic has graded:
  • 56% higher than the average critic
  • 1% same as the average critic
  • 43% lower than the average critic
On average, this critic grades 8.8 points lower than other critics. (0-100 point scale)

Glenn Garvin's Scores

Average review score: 57
Highest review score: 100 The Walking Dead: Season 1
Lowest review score: 0 Dads: Season 1
Score distribution:
554 tv reviews
    • 90 Metascore
    • 50 Glenn Garvin
    It benefits from the sort of deadpan, off-the-wall humor that powered 30 Rock.
    • 88 Metascore
    • 60 Glenn Garvin
    Longford is never less than gripping. But it unconsciously apes the moral myopia that afflicts its protagonist.
    • 40 Metascore
    • 60 Glenn Garvin
    A lot of this is pretty funny, but for 24 episodes?
    • 40 Metascore
    • 40 Glenn Garvin
    You can pretty much watch this show any night of the week under its other titles, CSI and Law & Order.
    • 13 Metascore
    • 60 Glenn Garvin
    If none of this quite rises to the level of Jon Stewart's intellectual hopscotch or Amy Poehler's inspired lunacy, it's nonetheless agreeably funny.
    • 84 Metascore
    • 60 Glenn Garvin
    Seems less a sitcom than a character study inflected by melancholy humor and hip-hop idioms. It sometimes tries a bit too hard to flash its street credentials (the episodes all have titles like "Messy as Fuck" and "Thirsty as Fuck"), but that's more than compensated for by its obdurate refusal to bill itself as the master narrative of black women. It's content to be the piquant story of two confused friends trying to navigate the uncertainties of the young-adult world.
    • 62 Metascore
    • 40 Glenn Garvin
    Worst Week certainly has some genuine laughs, but they run out well before the pratfalls and pee-pee jokes do.
    • 80 Metascore
    • 45 Glenn Garvin
    There's no story or character development, just an endless chorus of set-up, punch line, repeat. And the punch lines aren't nearly cutting enough to carry all that indolently dead weight.
    • 78 Metascore
    • 40 Glenn Garvin
    Unfortunately, there are also a lot of epically failed moments as well, almost all of them related to Schenkkan’s script, which paradoxically tries to cover too much while delivering too little. Instead of focusing exclusively on the battle over the civil rights bill, he tries to fold in the entire year of 1964, which included everything from the Gulf of Tonkin naval incident that launched full-scale American intervention in Vietnam to the arrest of a key Johnson aide caught performing a homosexual act in a public restroom weeks before the election that threatened (or so the president feared, anyway) to destroy his campaign.
    • 76 Metascore
    • 60 Glenn Garvin
    Far from a complete accounting of how the United States government tracked down and killed its Public Enemy No. 1--even the SEAL raid that ended with his death is hardly mentioned, much less described--this film might be better titled The Spooks Strike Back.
    • 37 Metascore
    • 40 Glenn Garvin
    Carpoolers, are at least amusing even if equally socially maladroit. Carpoolers is a genially oddball comedy.
    • 48 Metascore
    • 40 Glenn Garvin
    It's an interesting approach, but despite well-drawn characters and the strong cast, there's a sense that the show is trapped in amber, a perfectly preserved relic from another age.
    • 75 Metascore
    • 50 Glenn Garvin
    Calling it ''good'' might be a bit of a stretch, but Ugly Betty's comic-melodrama formula is so cannily executed that audiences may find it irresistible.
    • 69 Metascore
    • 60 Glenn Garvin
    Lovably silly.
    • 75 Metascore
    • 40 Glenn Garvin
    As the hour progresses and it flaunts its comic-book side (naturally, some supervillains have followed her to Earth, and even more naturally, there's a secret anti-extraterrestrial police force that wants to shut her up, because "nothing says 'covert operation' like a flying woman in a red skirty"), its essential nerdiness—the preferred PC synonym for "juvenile stupidity"—becomes overwhelming.
    • 75 Metascore
    • 40 Glenn Garvin
    The show is mostly useful as a vengeful reverse prank on greedy legions of trick-or-treaters. Make sure your tube is prominently visible as you open the door to the kids, and give them a compulsive need for years of therapy along with their Butterfingers.
    • 48 Metascore
    • 60 Glenn Garvin
    What it isn't is very dramatic. If watching attorneys haggle like rug traders was all that interesting, Feige probably would still be doing it. Nonetheless, there are worse ways to spend an hour than watching Raising the Bar, especially since the cast members are all quite pretty.
    • 73 Metascore
    • 50 Glenn Garvin
    Jason O'Mara is enormously appealing as the determined but befuddled Tyler....Unfortunately, the same cannot be said for Life on Mars' writers, who seem to have been knocked considerably deeper into history than their character.
    • 73 Metascore
    • 60 Glenn Garvin
    Fox's beguiling but unconventional drama Lone Star will have a similar problem [programmers with quick trigger fingers] if viewers demand a quick payoff.
    • 70 Metascore
    • 60 Glenn Garvin
    Weeds may make you chuckle, but it wants you to gasp, and unless your name is June and you call your youngest son Beaver, it's not likely to happen. [7 Aug 2005]
    • Miami Herald
    • 71 Metascore
    • 50 Glenn Garvin
    Vikings is at least fun to watch, in a sword-swinging, head-chopping, maiden-despoiling sort of way.
    • 71 Metascore
    • 50 Glenn Garvin
    Mixing melancholy and humor—even black humor—requires a delicate touch that’s lacking in You, Me and the Apocalypse. Not to mention that too many of the jokes don’t quite rise to the level of black humor. More like beige.
    • 71 Metascore
    • 50 Glenn Garvin
    Legit--and I say this with a certain amount of admiration, coupled with trepidation that some new program on the spring schedule will soon prove me wrong--is the most degraded, debauched and degenerate show on TV.
    • 70 Metascore
    • 60 Glenn Garvin
    Each of them [actresses Rebecca Ferguson, Faye Marsay and Amanda Hale] stabs backs and pops bodice buttons with the necessary élan while keeping a straight face at The White Queen’s putative moral, which is that arranged marriages are corrupt and evil, while those born of attempted rape, self-mutilation and suicide are sacred and empowering.
    • 44 Metascore
    • 60 Glenn Garvin
    It's an ancient TV dilemma: Bring an edgy comedian aboard, then make him tone down what he does best in order to avoid offending anybody. The problem is only compounded for ethnic performers who know they'll get little time to develop an audience...Lopez's amiability, however, gives it a chance to work. [27 Mar 2002, p.E6]
    • Miami Herald
    • 70 Metascore
    • 60 Glenn Garvin
    Like Grey's Anatomy when it started out, the Quantico cast is mostly young and relatively unheralded, the latter condition likely to remain unless this show's metabolism can be significantly slowed.
    • 69 Metascore
    • 40 Glenn Garvin
    Community's party animals tend to get their kicks less from bongs, grain-alcohol projectile vomiting and peeping into sorority windows than from irregular Spanish verbs and lengthy recitations of the script of The Breakfast Club, which, for the most part, is even less amusing than it sounds.
    • 69 Metascore
    • 40 Glenn Garvin
    "Bloated," "derivative," and "self-important" all seem fair, as does "scandalously overpriced." If producer-director Baz Luhrmann really, as has been reported, spent $120 million and 10 years to develop this thing, Netflix's accountants should be taken out and shot, and I don't mean with a camera.
    • 68 Metascore
    • 60 Glenn Garvin
    Merely dazed: stylistically, narratively, theologically. Part soap opera, part jeremiad, and part dark comedy, its various incarnations don't always mesh very well. It strives for epic magnificence and falls well short of coherence...And yet it's kind of entertaining.
    • 67 Metascore
    • 50 Glenn Garvin
    As drama, unfortunately, it's often punchless, with a meandering narrative which, it's obvious from the first moments, cannot be contained within a single two-hour show.

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