For 1,066 reviews, this critic has graded:
  • 66% higher than the average critic
  • 3% same as the average critic
  • 31% lower than the average critic
On average, this critic grades 3.1 points higher than other critics. (0-100 point scale)

Verne Gay's Scores

Average review score: 70
Highest review score: 100 Top Gear (US): Season 1
Lowest review score: 0 Zombie Apocalypse
Score distribution:
1066 tv reviews
    • 49 Metascore
    • 50 Verne Gay
    Swingtown can't decide whether the '70s were transformative or deformative; there's a distinct ironic edge, applied mostly through the use of music.... But that edge isn't nearly sharp or funny enough (unlike "Weeds"), which tends to muddle the point of view.
    • 53 Metascore
    • 50 Verne Gay
    Syfy knows we come to this only for the sharks, cameos, chain saws, acting--the worse, the better--and dialogue so sublimely inept that even the sharks wince when they hear it..... For discerning viewers and shark lovers everywhere: F+. For Sharknado fans: B+
    • tbd Metascore
    • 50 Verne Gay
    [A] confoundedly tedious bric-a-brac of a reality show, now entering its 12th overall season.
    • 60 Metascore
    • 50 Verne Gay
    The narratives here lack subtlety, historic context or--strangely enough--even drama.
    • 71 Metascore
    • 50 Verne Gay
    "Suburgatory" falls flat--a flatness that will be accentuated by the smart suburban comedies that bookend it.
    • 44 Metascore
    • 50 Verne Gay
    Cho has long been an acquired taste, and - while her fans will luxuriate in these 22 minutes--few newbies will acquire that tonight.
    • 56 Metascore
    • 50 Verne Gay
    Lots of cartoon violence mixed with--irony alert--not enough intelligence.
    • 57 Metascore
    • 42 Verne Gay
    Producers play this for laughs, though just slightly. (These are high school kids, after all.) Even so, the show's flat and almost stunningly uninformative.
    • 48 Metascore
    • 42 Verne Gay
    Three Rivers is a masterful send-up of old medical TV show conventions, dating back to the '50s, with a parade of cliches so obviously and hilariously inane that you will laugh until your side aches.
    • 52 Metascore
    • 42 Verne Gay
    Here's a fundamental truth: Family genealogies are fascinating--to the family in question.
    • 48 Metascore
    • 42 Verne Gay
    The trash meter soars when [Elizabeth Hurley's] on-screen, then sags when she's off. And there's just too much sag here.
    • 45 Metascore
    • 42 Verne Gay
    Even actors with the amplitude of Watts and Crudup can’t pull Gypsy out of this induced coma. One reason is a hook--a genuinely interesting one--that refuses to come to life.
    • 60 Metascore
    • 42 Verne Gay
    By losing the emotional core of the film essentially after the first act--the death of Kinnear's saintly Fairbrother--the film spends the next three-plus hours trying to fill the void. Fools rush in to fill it, but because most of them are treated with such contempt, or pity, none can or possibly could.
    • 54 Metascore
    • 42 Verne Gay
    Content is the much bigger issue here. In the pilot, Tyrant at times comes perilously close to embracing derogatory media stereotypes of Arabs.
    • 45 Metascore
    • 42 Verne Gay
    Another insufferable nose-pressed-against-the-glass reality romp that says the rich are just like you and me--only rich, and exceedingly, tiresomely narcissistic.
    • 64 Metascore
    • 42 Verne Gay
    Good idea and better cast squandered on a slapdash premise, weak writing and South Florida cliches.
    • 60 Metascore
    • 42 Verne Gay
    Sex&Drugs&Rock&Roll smells suspiciously like a vanity project that sat on Leary's shelf for a couple of decades.
    • 48 Metascore
    • 42 Verne Gay
    The plot is slight, the resolution a laugher and the characters basically stick figures. Scorpion has its fun moments, but not enough of them.
    • 34 Metascore
    • 42 Verne Gay
    The first episode is fairly execrable, but High Society settles down by the second, and we get a clearer--or at least less-boozy--view of Mortimer and her world.
    • 53 Metascore
    • 42 Verne Gay
    King didn't actually write Haven but "developed" it for the small screen, which is a form of plausible deniability if things go wrong. With Haven--as somnolent as a summer afternoon--they most likely will.
    • 62 Metascore
    • 42 Verne Gay
    You’ve seen it before, read it before. Too bad Dying passed up an opportunity to tell it in an exciting, engaging new way.
    • 38 Metascore
    • 42 Verne Gay
    Nice cast. Otherwise, charmless. Airless. Lifeless. (Blah, blah and blah.)
    • 43 Metascore
    • 42 Verne Gay
    A few emotional moments--most notably graveside ones--otherwise cool, self-aware and almost completely detached from the only reason this is on the air: Whitney Houston.
    • 47 Metascore
    • 42 Verne Gay
    A grim grind of a trip down that emblematic yellow road.
    • 52 Metascore
    • 42 Verne Gay
    An interesting, compelling idea for a TV series. Too bad a boilerplate cop procedural had to be the series they got instead.
    • 61 Metascore
    • 42 Verne Gay
    Overtones of "Rescue Me," absent the wit and bite.
    • 66 Metascore
    • 42 Verne Gay
    We've just seen this stuff too many times. Merely changing script specifics to Olympic references doesn't make it fresh.
    • 61 Metascore
    • 42 Verne Gay
    Not exactly satire, not exactly horror, BrainDead is not exactly much fun, either.
    • 48 Metascore
    • 42 Verne Gay
    There's no drama, no trumped-up conflict, no insights, no revelations and absolutely no discreet view of a once-notorious Dorchester clan that ran wild in the streets but now drives them, coolly surveying their kingdom for another restaurant location.
    • 37 Metascore
    • 42 Verne Gay
    One Big Happy is just... conventional.

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