Mike Lechevallier
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For 48 reviews, this critic has graded:
  • 14% higher than the average critic
  • 6% same as the average critic
  • 80% lower than the average critic
On average, this critic grades 9.1 points lower than other critics. (0-100 point scale)

Mike Lechevallier's Scores

Average review score: 56
Highest review score: 88 CSI: Season 10
Lowest review score: 12 Family Tools: Season 1
Score distribution:
  1. Positive: 23 out of 48
  2. Negative: 10 out of 48
48 tv reviews
    • 89 Metascore
    • 88 Mike Lechevallier
    The Mags's-money plotline masterfully brings together Boyd's crew, featuring Raylan's farther, Arlo (Raymond J. Barry), Limehouse's camp, an incarcerated Dickie Bennett (Jeremy Davies), the dimwitted Dewey Crowe (Damon Herriman), and Raylan, along with fellow marshal Rachel Brooks (Erica Tazel) in a string of energetic scenes boasting some tremendous acting and increasingly clever dialogue that truly carries the lively spirit of author Elmore Leonard's original work.
    • 80 Metascore
    • 88 Mike Lechevallier
    Archer is a wonder in that its most fiercely flawed characters are its inextinguishable heroes, and their stylized comeuppance arrives in ways that are perpetually unpredictable and altogether resonant within the show's singular, emotionally unhinged universe.
    • 76 Metascore
    • 88 Mike Lechevallier
    [Futurama has] eccentric yet oddly sympathetic characters, scores of clever pop-culture homages, and a unique visual aesthetic that isn't afraid to experiment with a variety of styles both vintage and modern.
    • 65 Metascore
    • 75 Mike Lechevallier
    In its eighth season, It's Always Sunny doesn't try very many new things, but the writers are smart enough to know not to mess with a successful formula, and the series carries itself with an air of aplomb that many comedies rarely come close to exhibiting.
    • 88 Metascore
    • 75 Mike Lechevallier
    Game of Thrones's second season is not as wholly engrossing as its first, and the blame for this rests solely on the source material, that, while commendable, isn't as altogether vital as the initial novel.
    • 81 Metascore
    • 75 Mike Lechevallier
    Community is at its most watchable not when it's tackling some real-world hot-button issue via the guise of a Greendale Community College campus event, but when it's examining the interactions of its main characters.
    • 69 Metascore
    • 75 Mike Lechevallier
    Community has always been a series that wears its badge of snappy creativity proud, and it's fourth season doesn't shy away from that.
    • 82 Metascore
    • 75 Mike Lechevallier
    While Rectify's slow-burn progression may lessen the impact of its sparse anecdotal twists, the series is nevertheless peppered with an array of beautiful wide shots of rural Georgia.
    • 75 Metascore
    • 75 Mike Lechevallier
    The show's large ensemble is mostly free of stereotypes, and nearly every narrative shift feels authentic and punctual.
    • 77 Metascore
    • 75 Mike Lechevallier
    Nucky has long been the king in this regard, but for once his throne seems like it's in real jeopardy, and it's a joy to watch him squirm.
    • 85 Metascore
    • 75 Mike Lechevallier
    Charlie (Charlie Day), Mac (Rob McElhenney), Dennis (Glenn Howerton), Dee (Kaitlin Olson), and Frank (Danny DeVito) are as magnetically dysfunctional as ever, and their neurotic efforts to scheme their way to happiness, fame, and fortune continue to coincide with skewed views on a variety of real-world issues that blend well with the show's onslaught of crude, scattershot humor.
    • 66 Metascore
    • 63 Mike Lechevallier
    The series isn't very original (at one point, it even steals Lost's now-iconic eye-opening shot), but that doesn't stop it from being relatively satisfying on its own terms.
    • 83 Metascore
    • 63 Mike Lechevallier
    If last season was The Empire Strikes Back, though, season three is slightly more Revenge of the Sith than Return of the Jedi.
    • 62 Metascore
    • 63 Mike Lechevallier
    The series loses some of its drive by its dreary fourth episode, when a labored love triangle between Carroll's disciples mars the overall flow of the central arc. ... Until that point, though, The Following is mostly engaging, even if it never truly substantiates its antagonist's godlike stature in the eyes of his worshipers.
    • 62 Metascore
    • 63 Mike Lechevallier
    When Da Vinci's Demons is barreling at top speed, unapologetically defiling history with its macabre absurdity, as in the surprisingly exciting second episode, "The Serpent," which ditches the disconnected structure of the pilot for a full-on detective yarn with an unexpected last-minute twist (think Sherlock Holmes set in the Renaissance), the show's faults, however obvious they may be, gradually fall by the wayside.
    • 85 Metascore
    • 63 Mike Lechevallier
    Where Mad Men branches out its individual narratives in a variety of ways, letting its characters deal with problems not related to the workplace, Masters of Sex seems rigidly anchored to its basic premise.
    • 64 Metascore
    • 50 Mike Lechevallier
    It's no mystery how the overproduced Terra Nova managed to turn out so drastically underwhelming.
    • 55 Metascore
    • 50 Mike Lechevallier
    Grimm is neither a very strong police procedural nor a supernatural drama, as it sacrifices the intelligence required to construct smart, puzzling crimes in order to spend more time attempting to enunciate its fantastical elements, which aren't all that fantastical, with amateurish CGI.
    • 68 Metascore
    • 50 Mike Lechevallier
    The muddled and recurrently tedious Larsen case, littered with irrelevant conspiracy-theory subplots (what the hell is up with Holder's AA "sponsor"?) render The Killing a mystery show whose mysteries agitate and bore rather than mesmerize and astound.
    • 56 Metascore
    • 50 Mike Lechevallier
    The strain that comes with continuing to care about Ryan's sad-sack existence, one that's a direct result of his own insecurities and poor decisions, vastly outweighs the amusement packed away within the incidental laughs the series intermittently provides.
    • 57 Metascore
    • 50 Mike Lechevallier
    For all its frippery and misfiring, Bullet in the Face manages to intermittently excel at being garbage for garbage's sake.
    • 55 Metascore
    • 50 Mike Lechevallier
    It's not that these are shoddily crafted personalities, it's that their predicaments have been done to death, and frankly, executed with much more thoughtfulness on other shows.
    • 61 Metascore
    • 50 Mike Lechevallier
    Neither a clear message nor steady mood can be properly discerned amid the taxing commotion.
    • 57 Metascore
    • 50 Mike Lechevallier
    The visionary environments are without blemish, and the sound design is on the level of some of Hollywood's heavy-hitters. Yet the stodgy inaction between each explosive set piece is so often bereft of substance that to endure Defiance is to lamentably scour its orbit for any exiguous points of engrossment.
    • 71 Metascore
    • 50 Mike Lechevallier
    Their life sucks--and most likely always will, but the trick is learning to live with that fact. Out There believes its characters can prosper in doing so, but doesn't collectively make an honest effort to portray their compassed journey in an imaginative fashion.
    • 63 Metascore
    • 50 Mike Lechevallier
    Nicholas Wootton's uniformly by-the-book series quickly eradicates itself of any authentic tension by unwisely depicting its hero alive and well (despite a slight limp that has yet to be thoroughly explained) seven years in the future.
    • 63 Metascore
    • 50 Mike Lechevallier
    Hostages feels as if it's impulsively running on autopilot, periodically checking off boxes on a laundry list of genre clich├ęs.
    • 57 Metascore
    • 50 Mike Lechevallier
    The Goodwin Games isn't a sophisticated comedy by any means, and memorable quips are few and far between, but its overall lightheartedness manages to save it from becoming completely dull.
    • 59 Metascore
    • 50 Mike Lechevallier
    Low Winter Sun too often lingers on Detroit's colorless evil more than its spirited righteousness, resulting in an overwhelmingly bleak narrative that feels as cold and lifeless as a corpse.
    • 62 Metascore
    • 50 Mike Lechevallier
    Coming from J.J. Abrams's aptly-titled Bad Robot Productions, Almost Human certainly has the means to develop into something more innovative, but as it hardly makes an effort to differentiate from the material it habitually duplicates, it's a series that repeatedly finds itself on the fritz.
    • 72 Metascore
    • 50 Mike Lechevallier
    Adapted from the British series of the same name, Getting On is billed as a comedy, but the show's setting, a neglected geriatric rehabilitation ward, is such an overwhelmingly depressing environment that much of the offbeat humor ends up flatlining.
    • 52 Metascore
    • 38 Mike Lechevallier
    There's occasional chemistry between McCormack and Cook, who looks too young for her part as a seasoned federal agent, but instead of trying to build a flimsy romantic bond between the two, the writers would be better served focusing on crafting more thoughtful professional enigmas for their main character to obsess over.
    • 50 Metascore
    • 38 Mike Lechevallier
    Motive flounders chiefly, however, because it expends lasting suspense by providing the audience with all the hard facts they need up front, subsequently granting them an invitation to leave the party early.
    • 44 Metascore
    • 38 Mike Lechevallier
    Being confined to a wheelchair might someday teach Ironside some humility, diminishing his round-the-clock animosity as the series progresses, but for now all it's apparently done is turn him into even more of a jerk.
    • 39 Metascore
    • 25 Mike Lechevallier
    For what it's worth, Hill's performance as Allen Gregory's titular character is the only noteworthy aspect of an otherwise shoddy show.
    • 38 Metascore
    • 25 Mike Lechevallier
    Do No Harm is very busy and very dumb, lobbing ridiculous obstacles at Jason at full speed, both in the workplace (the onslaught of unidentifiable hospital jargon rivals House at its most ludicrous) and at home (Ian ostensibly shattered Jason's marriage by beating his wife).
    • 41 Metascore
    • 25 Mike Lechevallier
    Mistresses is awash in a yawn-inducing flatness as thick as its quartet of cracked concubines.
    • 50 Metascore
    • 25 Mike Lechevallier
    Camp's most criminal offensives surface as it endeavors to deliver worldly moral lessons through cringe-worthy revelations of its characters' dimwittedness and vast cultural intolerances.
    • 69 Metascore
    • 12 Mike Lechevallier
    The series is a nearly unbearable assemblage of recycled sitcom plots that aims to spotlight Jefferies's specific breed of unashamedly mean-spirited witticisms.
    • 41 Metascore
    • 12 Mike Lechevallier
    Whatever made the original somewhat of a surprise success is clearly absent here, as Family Tools wastes its audience's time with stale, threadbare material that should've never seen the light of day.
    • 15 Metascore
    • 12 Mike Lechevallier
    It's the sitcom equivalent of "Pull my finger": crude, outdated, and immodestly proposed.