For 1,012 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: 69
Highest review score: 100 The Walking Dead: Season 2
Lowest review score: 0 Donny!: Season 1
Score distribution:
1012 tv reviews
    • 79 Metascore
    • 100 Verne Gay
    Girls' moment is almost up, but this lovely, gossamer line ["I want to write stories that make people feel less alone than I did, to laugh about the things that are painful in life.”] reminds us why that moment was so special.
    • 79 Metascore
    • 91 Verne Gay
    Sunday's episode is exceptional, marred only in a few spots by padding that's inevitable with these supersized episodes.
    • 79 Metascore
    • 75 Verne Gay
    The problem with Jackie is that split personality--drama or comedy. What's funny here is funny, like last season's final seconds. There aren't enough moments that remind you when to laugh.
    • 79 Metascore
    • 75 Verne Gay
    It's almost a shrug of an opener, a bit diffident, a bit unfocused (not unlike Brett, in his less lucid moments). But Togetherness does gets better, and funnier.
    • 79 Metascore
    • 100 Verne Gay
    Even at six hours, this tends to be more impressionistic, and less bound to a strict historic timeline.
    • 78 Metascore
    • 75 Verne Gay
    Suffice it to say, keep the kids away, but you will laugh - and feel guilty about it afterward.
    • 78 Metascore
    • 91 Verne Gay
    The Gus Vant Sant-directed pilot of what is easily the most important project in Starz history pulses with the sort of corruption that absolute power sires.
    • 78 Metascore
    • 67 Verne Gay
    Michael is a clinically interesting personality type who is profoundly unempathetic, until such times as he is very empathetic. The wonderful creative trick of The Office is knowing exactly the right moment to humanize Michael.
    • 78 Metascore
    • 100 Verne Gay
    Pure joy and the tribute Nichols finally deserves.
    • 78 Metascore
    • 75 Verne Gay
    Good start with a pair of shockers. Beware.
    • 78 Metascore
    • 83 Verne Gay
    Saul is lighter and brighter than "Bad," and--particularly with Sunday's launch--often very funny.
    • 78 Metascore
    • 75 Verne Gay
    The Closer may be the most comfortable old shoe on all of television; slip it on and be assured of no blisters. In fact, the cast (and not just Sedgwick) is so competent, the characters' tics so familiar; and the format and formula so firmly etched in "ceeement" (as Brenda might say) that it all feels almost too comfy.
    • 78 Metascore
    • 100 Verne Gay
    All very much and happily remains the same--and unless you are an absolute die-hard insane fan who will find something to complain about here ... there really isn't all that much to complain about whatsoever.
    • 78 Metascore
    • 75 Verne Gay
    This is an intelligent overview, with the consistent and important theme that medical "paradigms" shift and change.
    • 78 Metascore
    • 75 Verne Gay
    While a bit deliberately paced, a good start, with (as always) an excellent guest-star roster.
    • 78 Metascore
    • 100 Verne Gay
    At turns it's sad, poignant, bitter and funny (yes, more than enough turns in that direction).
    • 78 Metascore
    • 90 Verne Gay
    The best unscripted show on commercial television this season, which you may correctly point out is faint praise; but in this case, it's not.
    • 78 Metascore
    • 83 Verne Gay
    After the first season's packed finale, Sunday's episode settles down, takes a breath, and slowwwwws down. That's absolutely an auspicious and necessary development.
    • 78 Metascore
    • 83 Verne Gay
    A well-crafted, well-intentioned documentary series that excels when it offers rare concrete examples of the amorphous role producers play in the musical process, while also shining a spotlight on a who’s who of great producers.
    • 78 Metascore
    • 75 Verne Gay
    The season's premiere represents pig-in-the-python storytelling--there's so much to work through, so many details, stories, characters and time dimensions to attend to, that after a while this all starts to feel like a very full meal.
    • 78 Metascore
    • 83 Verne Gay
    Fun, colorful, lively--but is there a real show here, or just a good joke?
    • 78 Metascore
    • 91 Verne Gay
    All the Way gets a couple of electrifying performances that catalyze the drama--not to mention the forward momentum of history. They’re brief, but they do the job. ... Magnificent, often stirring performance by Cranston that no one else comes close to matching.
    • 78 Metascore
    • 83 Verne Gay
    McKinley and its denizens feel just a little too cliched, the emerging romantic entanglements a little too forced, the female characters--notably Terri and Sue Sylvester--just a little too mean-spirited. Still, it's a great cast.
    • 78 Metascore
    • 91 Verne Gay
    Smart newcomer with a pair of leads that turns The Americans into a likely winner.
    • 78 Metascore
    • 67 Verne Gay
    As a character with a sartorial preference for canary yellow, Kemper's Schmidt comes into focus intensely and immediately. She pops off the screen, and pleasingly so. Her series, less so.
    • 57 Metascore
    • 70 Verne Gay
    "Raines" is both thoroughly conventional and thoroughly unconventional; in fact, it often revels in its conventionality.
    • 78 Metascore
    • 75 Verne Gay
    Can Rescue Me wrap all this up in the short time left? I hope so, but this episode feels like so much temporizing.
    • 77 Metascore
    • 70 Verne Gay
    Congenial.
    • 77 Metascore
    • 75 Verne Gay
    After a shaky start, Pete gets denser, trickier and better.
    • 77 Metascore
    • 83 Verne Gay
    Yes, "black-ish" can be fiercely funny, sharply observed, and unfailingly good-humored about the racial divide. But just beyond that glossy surface is a serious and even compelling undercurrent.

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