Todd VanDerWerff

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For 169 reviews, this critic has graded:
  • 51% higher than the average critic
  • 2% same as the average critic
  • 47% lower than the average critic
On average, this critic grades 3.2 points higher than other critics. (0-100 point scale)

Todd VanDerWerff's Scores

Average review score: 70
Highest review score: 100 BoJack Horseman: Season 2
Lowest review score: 0 Dads: Season 1
Score distribution:
  1. Negative: 9 out of 169
169 tv reviews
    • 92 Metascore
    • 100 Todd VanDerWerff
    The mood develops exquisitely from the first frame.
    • 89 Metascore
    • 100 Todd VanDerWerff
    Everybody inside and outside of Litchfield’s walls matters. That shouldn’t feel revolutionary. That it does speaks both to how essential this show is and how much most other TV shows will have to do to catch up to it.
    • 90 Metascore
    • 100 Todd VanDerWerff
    The third season of the anthological miniseries, which debuts Sunday, March 12, is nothing short of breathtaking in the way it attempts to show every single level of economic comfort--or lack thereof--in and around a small North Carolina farming community. From migrant workers to big wheels in agribusiness, the season covers them all.
    • 85 Metascore
    • 100 Todd VanDerWerff
    Show Me a Hero always feels thrillingly alive and attuned to the way that all politics is personal.... One of the year's very best TV programs.
    • 95 Metascore
    • 100 Todd VanDerWerff
    Season four is shot through with some of The Americans' most plaintively touching moments yet.
    • 83 Metascore
    • 100 Todd VanDerWerff
    The first five episodes of that third season are as good as anything I’ve seen on TV this year.
    • 80 Metascore
    • 100 Todd VanDerWerff
    This is, if anything, a sequel to season one, one that shares some of the same cast members, a bit of the same tone, and a general sense of the world tipping off its axis, ever so slightly. It's a show that wants to provoke a reaction in you, whether it's admiration, hatred, or just bafflement. It's HBO's best drama--and thus must-see TV.
    • 91 Metascore
    • 100 Todd VanDerWerff
    This might be the show of the year. ... Even the benefits of giving itself space to experiment, or of having those funny jokes, aren’t what makes Master of None’s second season as good as it is. What really makes it work is its endless faith in the idea that people will take care of each other in the end.
    • 99 Metascore
    • 100 Todd VanDerWerff
    I’ve seen a few episodes of Rectify’s fourth season, and they’re as sweet and soulful as the show has always been. They contain passages of stark beauty, and moments of dreamlike simplicity. And above all else, they’re guided by McKinnon’s unfailing empathy for each and every character on screen.
    • 88 Metascore
    • 100 Todd VanDerWerff
    Hannibal has always been beautiful, and that’s still the case. It’s also always featured dialogue and plots that stay just on the right side of being too pretentious, and that remains the case. If there are any notable steps up from season one, it’s both in the tension that mounts thanks to the great game played between Will and Hannibal and in the better use of the show’s supporting cast.
    • tbd Metascore
    • 100 Todd VanDerWerff
    The obvious comparison point is The Twilight Zone; that Black Mirror is a worthy successor is the highest praise that can be paid.
    • 65 Metascore
    • 100 Todd VanDerWerff
    None of this would work without compelling characters. Fortunately, The Leftovers has bunches of them.
    • 94 Metascore
    • 100 Todd VanDerWerff
    Transparent's second season is the best television of the year.... Season two was an improvement in every way, small and lovely and achingly resonant.
    • 98 Metascore
    • 100 Todd VanDerWerff
    A show operating at the peak of its powers. ... It feel[s] very much like a series that has found its moment in history.
    • 92 Metascore
    • 100 Todd VanDerWerff
    None of this would work without a great performance at its center, and as Offred, Moss is astonishing. ... At every corner, The Handmaid’s Tale brims with invention.
    • 90 Metascore
    • 100 Todd VanDerWerff
    Netflix's BoJack Horseman has found its footing beautifully in season two, earning the title of not just the streaming service's best show, but of one of television's best shows.
    • 92 Metascore
    • 100 Todd VanDerWerff
    The Americans is also the best show on television, by a fair amount.... The show now has the best of its first season — when Philip and Elizabeth were often at odds--blended with the best of its remarkable second--when the two found common cause but discovered that made them less effective spies.
    • 96 Metascore
    • 100 Todd VanDerWerff
    O.J.: Made in America might be the most essential TV series of the year.
    • 84 Metascore
    • 100 Todd VanDerWerff
    Where other TV shows avoid the weight of all that death, Hannibal turns the horror into opera--bold and beautiful and over-the-top and opulent.
    • 94 Metascore
    • 100 Todd VanDerWerff
    Fortunately, The Americans’ fifth season succeeds in addressing our current world by being its assiduously careful self. This is still a show about how, beyond politics, beyond economics, beyond nationalism, people are people. How beautiful, and how terrifying.
    • 92 Metascore
    • 91 Todd VanDerWerff
    It’s a quiet, deliberate show, but it contains multitudes and a willingness to go for broke with religious symbolism or Southern gothic overtones, right smack dab in the middle of stories about normal people going about their lives.
    • 80 Metascore
    • 91 Todd VanDerWerff
    The show’s beauty is not in big moments, or exquisitely written scenes (though it has both), it comes in the pauses between, the semicolons and commas that make up the bulk of many lives, but which TV has trouble giving full heft.
    • 79 Metascore
    • 91 Todd VanDerWerff
    Orphan Black is better than almost any show on TV at feeling like it’s constantly building toward something, no matter how perilous and rickety its structure becomes.
    • 73 Metascore
    • 91 Todd VanDerWerff
    For the most part, Lannan and Haigh have crafted something that’s bittersweet and funny and surprisingly quiet, willing to simply let the characters hang out and try to figure out what the rest of their lives are going to be like.
    • 86 Metascore
    • 91 Todd VanDerWerff
    From episode three on, [Sheen] begins to give one of the most fascinating performances on TV.
    • 82 Metascore
    • 90 Todd VanDerWerff
    What FXX has bet on isn't the usual cheery, good-time sitcom. It's a show that unleashes the dark heart of the romantic comedy.
    • 90 Metascore
    • 90 Todd VanDerWerff
    Yes, all of this has been done before. But at every turn, Price’s writerly flourishes give The Night Of’s characters more depth than the usual stock figures. The result is surprisingly invigorating.
    • 91 Metascore
    • 90 Todd VanDerWerff
    Everything that was always good about Game of Thrones is still good. The ensemble cast remains one of TV's richest, from top to bottom, and even actors who seemed weak in the past (like Sophie Turner, who plays increasingly embittered Sansa Stark) continue to rise to the level of much better material.
    • 84 Metascore
    • 90 Todd VanDerWerff
    It's a sprawling small-town saga that, nonetheless, feels lived-in and intimate. And even as it succumbs to some of true crime's greatest faults, it's always less interested in the gruesomeness of the crime than in the impossibility of finding the truth, something that serves it well. This is grim television, but it's also necessary television.
    • 83 Metascore
    • 90 Todd VanDerWerff
    There's nothing revolutionary here, but man, what is here is some of the funniest, most soulful TV of the summer.

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