For 1,002 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 points higher than other critics. (0-100 point scale)

Verne Gay's Scores

Average review score: 69
Highest review score: 100 Boardwalk Empire: Season 2
Lowest review score: 0 The Wedding Bells: Season 1
Score distribution:
1002 tv reviews
    • 72 Metascore
    • 67 Verne Gay
    It's all vaguely familiar and spirited enough to look like shiny summer fare. Just don't scratch the surface.
    • 74 Metascore
    • 67 Verne Gay
    Maybe just crazy enough to be engaging in the early going. It's the long run that looks questionable.
    • 73 Metascore
    • 67 Verne Gay
    You can see Halt reach for that something. You can't quite shake the sense that Halt doesn't know what that "something" is.
    • 64 Metascore
    • 67 Verne Gay
    Clear away the soap bubbles, and you'll find ... more soap bubbles. But you won't be bored.
    • tbd Metascore
    • 67 Verne Gay
    Get past the languor and absence of urgency of any kind and you quickly realize what Royal Pains is all about--TV's version of a nice easy beach read. The fifth season promises more of the same.
    • 57 Metascore
    • 67 Verne Gay
    As a team, they [Billy Crystal and Josh Gad] are better than the shows--both the real one and the fake one--they're in.
    • 61 Metascore
    • 67 Verne Gay
    There are too many characters, too many points of view, all subservient to big ideas that don’t even begin to come into focus until late in the second part--just as the unwieldy story starts to go out of focus.
    • 74 Metascore
    • 67 Verne Gay
    This three-parter often lacks finesse and sophistication. The story is rushed or clumsily told, and the tone discordant....Watch for Atkins only. She's brilliant.
    • 61 Metascore
    • 67 Verne Gay
    "Potential," in fact, is the key word. It's definitely here, but "2" may also need all eight episodes to realize it.
    • 65 Metascore
    • 67 Verne Gay
    A lethargic procedural is brightened by a good cast.
    • 75 Metascore
    • 67 Verne Gay
    Powerful story. A shame Bessie rarely conveys the story's emotional wallop.
    • 65 Metascore
    • 67 Verne Gay
    It is merely OK--not quite tricky enough to satisfy the hard-core geeks, not quite mindless enough to satisfy someone who just wants to watch the tube and forget a long day. But it is tricky, with at least one interesting twist.
    • 47 Metascore
    • 67 Verne Gay
    What ABC has tried to do is make something that will appeal to the sword-and-sandal crowd and the faith-based one. Predictably, neither will be pleased.... Prophets manages a few things well--notably the production values--and gives American TV audiences their first good, long look at the fine veteran British actor Ray Winstone. Newcomer Rix is promising, too.
    • 58 Metascore
    • 67 Verne Gay
    Everything fans loved about the first season--which improved dramatically over its course, by the way--is here. Everyone is not. McIntyre is good, but he's not Whitfield, either.
    • 60 Metascore
    • 67 Verne Gay
    Where is this headed? Who knows? But it's heading there slowly. Nevertheless, the cast--Common, Meaney, Heyerdahl and Mount--is good, while the Old West still feels especially beautiful and perilous.
    • 69 Metascore
    • 67 Verne Gay
    Kaling's good (and always is), but the pilot is just not all that funny.
    • 75 Metascore
    • 67 Verne Gay
    A series that can still be occasionally talky and turgid.... Hardwick's the better and smoother actor, and certainly the more appealing one. But it's Jackson who gives this show bite and--to a considerable degree--life, too.
    • 76 Metascore
    • 67 Verne Gay
    Above-average newcomer with a great actor in the leading role and frosty grace notes throughout.
    • 46 Metascore
    • 67 Verne Gay
    There's a glimmer of hope here, and her name is Rebel Wilson. Now, the show needs to match her talents.
    • 75 Metascore
    • 67 Verne Gay
    In the end, don't much like Ray Donovan.... [But] Donovan ultimately succeeds on the little things--some very good performances by some very good actors and sharp dialogue by Biderman, who knows how to write Tough Guy talk with the best of them.
    • 49 Metascore
    • 67 Verne Gay
    Great cast, and Hawkins is a worthy Jack Bauer successor. But Legacy can be lethargic and loquacious. More action, less talk, will hopefully close out this day.
    • 66 Metascore
    • 67 Verne Gay
    If you love Zooey Deschanel, this one's for you. If not, a pass.
    • 80 Metascore
    • 67 Verne Gay
    Watch for any length of time and you may--as I did--have the eerie if not unpleasant feeling that you've been teleported to a decent network cop show from the 1970s.
    • 67 Metascore
    • 67 Verne Gay
    Like opening a time capsule. The boys remain the same. At least their snark has been updated for contemporary targets.
    • 61 Metascore
    • 67 Verne Gay
    Mostly this show belongs to Harmon, once a key member of the "Law & Order" ensemble. She's likable and intriguing. That salvages an otherwise average cop show.
    • 57 Metascore
    • 67 Verne Gay
    The series does a competent job of setting mood and character--notably that anything is possible, the sky’s the limit drive of the early 20th century that animated great inventions, and consequently great fortunes.
    • 48 Metascore
    • 67 Verne Gay
    Not terrible--really--but not yet remotely the winner NBC so badly needs either.
    • 51 Metascore
    • 67 Verne Gay
    Arthur and Agatha flit through the pilot, barely registering. In fact, no one registers. They're all line drawings in service to some very nice special effects and a pilot that's already tangled up in way too many plot tangents.
    • 69 Metascore
    • 67 Verne Gay
    Rubicon unfolds at a languid pace, dispensing information at the rate a not-quite-broken kitchen faucet dispenses drops. You want it to speed up. You want some urgency. You want a few more thrills in this thriller. At least this average TV viewer does.
    • 64 Metascore
    • 67 Verne Gay
    Hot in Cleveland is a by-the-numbers sitcom with a couple of laughs, an inoffensive premise and four seasoned actresses who make the material much better than it is.
    • 58 Metascore
    • 67 Verne Gay
    Unfortunately, one show's a classic, the other a near knockoff. Nevertheless, Poehler's still got plenty of appeal here.
    • 55 Metascore
    • 67 Verne Gay
    [Bakula and Pounder] should make the process of watching--or chore of watching, depending on your appetite for more of this formula--just a little more agreeable.
    • 54 Metascore
    • 67 Verne Gay
    Tonight's premiere may seem like ridiculous twaddle, and it may feel like a major downer (and kinda sloooow), too, but maybe that's just Bruckheimer playing with our heads. In fact, Hour deserves a second look (next week is definitely better).
    • 70 Metascore
    • 67 Verne Gay
    Forgive the pun, but this brass needs polishing. The Green/Burgess team is one of TV's best and we hope they'll make this show as sharp and compelling as it should be.
    • 52 Metascore
    • 67 Verne Gay
    Been here/seen this--a lot--but familiarity could work in favor of Deception.
    • 82 Metascore
    • 67 Verne Gay
    Beautifully crafted, occasionally incoherent, often challenging and insistently demanding, but what’s not entirely clear in the early episodes is whether the payoff will be worth all the trouble.
    • 70 Metascore
    • 67 Verne Gay
    Skies needs more horror. Less talk. More dramatic tension. Less (ummm) talk. More crazy, wild shootouts with the despicable aliens, who don't seem particularly bright, by the way. Less (all together now) talk.
    • 76 Metascore
    • 67 Verne Gay
    Good setup pilot on Sunday that doesn’t quite carry over into subsequent episodes.
    • 79 Metascore
    • 67 Verne Gay
    Mann and HBO deserve much credit for profiling these extraordinary people. It's just too bad the execution tends to be a little long-winded or not nearly as expansive as it should be.
    • 73 Metascore
    • 67 Verne Gay
    Let's say Lone Star has its work cut out for it, and so does Wolk. His portrayal is too nice--too romantic, too good-hearted, too bland--to make Allen interesting, or at least convincing.
    • 53 Metascore
    • 67 Verne Gay
    The McCarthys--good-natured, old-fashioned, unchallenging--isn't a bad sitcom, just an obvious one.
    • 74 Metascore
    • 67 Verne Gay
    This is four hours of love and music, but the film also wants to address the many controversies, then excuse them. The result: Some lily-gilding, and far too many observations we've heard far too many times before and factoids, too.
    • 76 Metascore
    • 67 Verne Gay
    The Tenth Inning is dutiful, sober and thoughtful. No spitballs are thrown. No banned substances have been added to bloat it up to obscene, grotesque proportions. What is missing in at least tonight's installment is surprise, or the pleasant shock of learning something brand new or unexpected.
    • 63 Metascore
    • 67 Verne Gay
    Not nearly enough fresh information on the Long Island case, and cluttered with tangents that seem to lead nowhere, The Killing Season still makes its case — a terrifying one.
    • 49 Metascore
    • 67 Verne Gay
    Familiar doesn't mean bad, and there's some likable charm here.
    • 64 Metascore
    • 67 Verne Gay
    So far, so good. No late night talk show has ever been canceled after one edition--not even Chevy's--while first albeit abbreviated impressions of Conan are promising.
    • 76 Metascore
    • 67 Verne Gay
    Unless your name is Stephen King or Steven Spielberg, there’s only so much new anyone can bring to this potluck supper. The Duffers don’t bring much new. They do bring a large degree of enthusiasm, however.
    • 69 Metascore
    • 67 Verne Gay
    You can't help realizing that just by the act of taping a reality show, the Bruces--all nine of them--are already employed in a job, albeit a temporary one.
    • 73 Metascore
    • 67 Verne Gay
    Gleeks will engage; hard to imagine who else will.
    • 65 Metascore
    • 67 Verne Gay
    It's a cut above boilerplate, with good production values and decent performances.
    • 57 Metascore
    • 67 Verne Gay
    Way too obscure for the average viewer, Comic Book Men is strictly for Smith groupies, and there are probably enough of those to keep this six-parter afloat over its short run.
    • 66 Metascore
    • 67 Verne Gay
    Enjoy the atmospherics. They're good. Just don't expect them to lead to a satisfying payoff. It might never come.
    • 45 Metascore
    • 67 Verne Gay
    The Narrative knot is further jumbled by all the head games Two plays on him and everyone else. Six is on shifting sand, and so, too, will you be.
    • 59 Metascore
    • 67 Verne Gay
    This can sometimes be an exercise in rehashing as opposed to reassessment.... The Seventies, however, gets better when the story gets stronger, or at least more resonant.
    • 57 Metascore
    • 67 Verne Gay
    A by-the-book cop show without much bite or heft. But it's got Memphis and Lee.
    • 72 Metascore
    • 67 Verne Gay
    The show is scattered, slight and abominably self-promotional. But Michaels is so full of abundant - and infectious - good cheer that you tend to overlook these many faults. Fans will eat it up.
    • 67 Metascore
    • 67 Verne Gay
    It's an exhaustive and exhausting film, but Garbus finds nothing that will change minds or reverse conclusions. The tragic void remains.
    • 54 Metascore
    • 67 Verne Gay
    Bonnie & Clyde really is just another biopic with superior production values, a few good performances and a pair of protagonists who deserve no sympathy, and receive none here.
    • 54 Metascore
    • 67 Verne Gay
    Not great, not terrible--just your standard-issue TV movie about a well-known historic event.
    • 72 Metascore
    • 67 Verne Gay
    Interesting detours, and a worthy show--but at times just a smidgen too self-righteous and melodramatic.
    • 71 Metascore
    • 67 Verne Gay
    There's so much to like here. Now, all P&R has to do is become consistently likable.
    • 36 Metascore
    • 67 Verne Gay
    Pauly is still Pauly--but he's a more grown-up version who cares about his friends, ailing dad and career.
    • 71 Metascore
    • 67 Verne Gay
    Overly familiar story beats and cardboard character cutouts in Wednesday’s opener blunt the return of Jack Bauer 2.0. A hint of genuine promise, however, remains.
    • 47 Metascore
    • 67 Verne Gay
    At least Emily proves she's got the chops to cast a shadow of her own.
    • 54 Metascore
    • 67 Verne Gay
    Stellar production, famous leads. What's missing? Heart.
    • 55 Metascore
    • 67 Verne Gay
    I laughed. Not often, or perhaps not often enough, but there was also enough McFarlane-esque gross-out sophomoric tomfoolery to keep even me reasonably entertained for a half-hour. Plus, good ol' likable Cleveland works well as a leading man.
    • 52 Metascore
    • 67 Verne Gay
    It's summer, expectations are low, and you could do a lot worse than this genial, softhearted import.
    • 58 Metascore
    • 67 Verne Gay
    Mostly boilerplate teen soap that lacks the (umm) zest of "Sex and the City"--a good thing, in case you're wondering.
    • 61 Metascore
    • 67 Verne Gay
    This is a thoughtful, dutiful historic drama filled with all the requisite period details and British accents, too. But what's missing here, glaringly so, are passion and sweep .
    • 69 Metascore
    • 67 Verne Gay
    The performance tends to be monochromatic, and in the end, so is Mildred Pierce. What's especially enjoyable here are the minor performances--especially Pearce as the louche Monty--and the many almost imperceptibly small details, right down to the crockery in a restaurant.
    • 61 Metascore
    • 67 Verne Gay
    While beautiful to look at--some of this was filmed in Wading River, near Herod Point--Zelda can also feel like that TV biopic we’ve all seen before: The one that trudges dutifully along without adding much depth or subtlety in the process.
    • 58 Metascore
    • 67 Verne Gay
    Garcia is a major-league cutie and sunny on-screen presence without being cloying. But enough with the filthy-rich-kid dramedies!
    • 42 Metascore
    • 67 Verne Gay
    Competent spinoff, but the formula tends to wear like a straitjacket on Whitaker.
    • 68 Metascore
    • 67 Verne Gay
    Daredevil” isn’t only mindlessly violent, but mindless, too. The cast is terrific, production values superlative and direction first-rate.... But is there a functioning brain, or at least a higher purpose, maybe a deeper one? Like Matt’s own search for meaning, good luck finding answers.
    • 64 Metascore
    • 67 Verne Gay
    Falco is very good, always is, but her show has gotten tired.
    • 71 Metascore
    • 67 Verne Gay
    The show they're in is amiable enough, but the premise is awfully thin and the pilot doesn't hint at much of anything beyond that.
    • 57 Metascore
    • 67 Verne Gay
    Either clever idea or one-trick pony, the Son of Zorn pilot can’t entirely decide which it is either.
    • 56 Metascore
    • 67 Verne Gay
    A not-bad formula gothic that'll rise or fall on the Dekker/Robertson chemistry; I'm betting on the former.
    • 58 Metascore
    • 67 Verne Gay
    At first, the pace is slow--make that glacial--but [the] pilot episode (and especially Sunjata) are good-natured enough to make you want to stick around to see if this gels into anything approaching an FX drama (it does not).
    • 77 Metascore
    • 67 Verne Gay
    Intriguing... but somber and slowww-moving.
    • 63 Metascore
    • 67 Verne Gay
    A not-unpleasing comedy that takes time and commitment to grow on you. How long? I started to like it three or four episodes in. Seems like an awfully long time, no?
    • 64 Metascore
    • 67 Verne Gay
    Respectable, incomplete survey (on TV) Thursday night, but future installments look better.
    • 49 Metascore
    • 67 Verne Gay
    Amusing, dumb, silly--exactly what you'd expect.
    • tbd Metascore
    • 67 Verne Gay
    Will a cheerfully biased newcomer with a few amusing, well-crafted one-liners be enough to get FX on the boards in late night? To paraphrase Yoda, difficult to say--always in motion is the future--but Rock may want to light a fire under this act sooner than later.
    • 70 Metascore
    • 67 Verne Gay
    Hilarious implausibility, overheated dialogue and enough soap to do several loads of laundry are part of its appeal.
    • 60 Metascore
    • 67 Verne Gay
    Like the previous four "AHS" editions, the fifth is a visual feast (which is probably the wrong word here, but you get the idea). Everything--everyone, and not just Gaga--is eroticized, too. Even the shadows are seductive. A shame that it all feels so grim and joyless.
    • 58 Metascore
    • 67 Verne Gay
    While True Blood remains wildly and bloodily inventive--and will certainly remain a huge HBO hit--there's still an overwhelming sense that deja-vu-all-over-again has set in.
    • 60 Metascore
    • 67 Verne Gay
    Passable summer thriller with some decent (for TV) action sequences. The plot? You've been there, done that.
    • 66 Metascore
    • 67 Verne Gay
    The acting is solid all around--just not entirely convincing.
    • 66 Metascore
    • 67 Verne Gay
    Fear the Walking Dead is slow and a little bit dull.... Now the good. Fear's opening act is a strong one. There's a nice overall build, too, particularly during the second episode.
    • 58 Metascore
    • 67 Verne Gay
    I do know something about TV shows, and this one works best when Anne Slowey is on camera (which is not nearly enough) and the program focuses on clothing - that great, exasperating, endlessly complicated art form known as "fashion."
    • 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.
    • 54 Metascore
    • 67 Verne Gay
    Placid and often incomprehensibly bland, Combat Hospital still has flashes of intelligence. Definitely worth a second look.
    • 61 Metascore
    • 67 Verne Gay
    Two nights implies this will be “epic,” but this is the anti-epic miniseries, where the subject gets smaller and smaller while his crimes get larger and larger. It’s instructional--just not emotionally engaging.
    • 39 Metascore
    • 67 Verne Gay
    Ambitious and intermittently entertaining, Zero Hour--and its celebrated lead--don't quite hit all their marks. But at least the mystery's a hoot.
    • 71 Metascore
    • 67 Verne Gay
    Sit back, don't think, and expect some good performances--especially by Jennifer Carpenter.
    • tbd Metascore
    • 67 Verne Gay
    Intriguing cop show in Civil War New York--though neither the cop part nor Civil War part are entirely convincing.
    • tbd Metascore
    • 67 Verne Gay
    What's surprising is that there's nothing remotely cheesy about 4th and Loud, a good docuseries that trains the camera most of the time on the guys on the field.
    • 76 Metascore
    • 67 Verne Gay
    Middling start, but we've stuck with Rescue Me this long, and no point in bailing now.
    • 39 Metascore
    • 67 Verne Gay
    Kevin Can Wait is neither as bad as you may have feared nor as good as you may have hoped. It’s squarely and innocuously in the middle.
    • 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.
    • 63 Metascore
    • 67 Verne Gay
    We know how this ends (he becomes commish) but there's little evidence suggesting how or why that happens, and even less reason why we should care. Meanwhile, the best stuff in Golden Boy is the little stuff--sharp, brittle dialogue, nice performances and a street cred that's a cut above average.
    • 61 Metascore
    • 67 Verne Gay
    Despite the slightest everything's-up-to-date vibe, Cristela is really just another old-fashioned sitcom with roots that reach all the way back to the dawn of television, where shows neither offended nor scandalized.
    • 57 Metascore
    • 60 Verne Gay
    Cane" is not a bad show, and it's sporadically a good one. Merely, great expectations have not been met.
    • 61 Metascore
    • 60 Verne Gay
    Some of Mamet's dialogue is certifiably awful and some certifiably brilliant, and the dichotomy is breathtaking.
    • 61 Metascore
    • 60 Verne Gay
    It was... safe, reasonable, unembarrassing, uninspirational.
    • 34 Metascore
    • 60 Verne Gay
    ABC hasn't provided much in advance to watch--smart network!--but there were some clips for Wipeout, and they were (seriously) hilarious.
    • 40 Metascore
    • 60 Verne Gay
    A harmless and mostly fun little sitcom.
    • 80 Metascore
    • 60 Verne Gay
    You get the sense that the filmmakers' vision and Wright's are never quite in sync--or perhaps are in sync too perfectly.
    • 70 Metascore
    • 60 Verne Gay
    A relentlessly grim and deeply depressing viewing experience.
    • 54 Metascore
    • 60 Verne Gay
    A reasonably competent soap.
    • 66 Metascore
    • 60 Verne Gay
    A watchable and skillfully made telefilm (Jay Roach of "Austin Powers" fame directed) that is, nonetheless, marred by a melodramatic reliance on Good vs. Evil, and guess which side is which?
    • 58 Metascore
    • 60 Verne Gay
    "Lost Room" is a shaggy dog story that gets shaggier with every scene. It's a tale as tall as the Empire State Building that threatens to topple in the merest breeze but - miraculously - never does.
    • 75 Metascore
    • 60 Verne Gay
    "Brotherhood" is sharply written... Nevertheless, a heavy air of predictability hangs over "Brotherhood," which has a tendency to confirm viewer expectations instead of challenging them.
    • 42 Metascore
    • 58 Verne Gay
    In a word, The Listener is boring. Or, if you prefer alliteration, listless.
    • 70 Metascore
    • 58 Verne Gay
    The Path is a grim unburdening, all right, but also that what-if series in search of deeper moorings, and a deeper meaning.
    • 38 Metascore
    • 58 Verne Gay
    Nothing remotely lurid in either show [7 Days of Sex and The Conversation With Amanda de Cadenet].
    • Newsday
    • 56 Metascore
    • 58 Verne Gay
    Nice locales (Paris! Rome!), a couple of decent action sequences... but otherwise a tepid potboiler over-seasoned with too many spy tropes and a plot with too many gaping holes.
    • 51 Metascore
    • 58 Verne Gay
    Nice to look at, good performances, but ultimately a snooze.
    • 48 Metascore
    • 58 Verne Gay
    Sure, it all looks and sounds achingly familiar and blandly dumb, and maybe some of it is. But check the brain at the door. You could do much worse.
    • tbd Metascore
    • 58 Verne Gay
    Best not to overthink 60 Days, and 60 Days clearly doesn’t want you to.
    • 70 Metascore
    • 58 Verne Gay
    [Chopra's] attractive, all right, and so is the rest of the telegenic crowd surrounding her. What's missing is much of a reason to care about her (or them). That's the fault of a pilot which spins a wild-eyed premise.
    • 45 Metascore
    • 58 Verne Gay
    A messy newcomer with a "Twilight" saga vibe and "Twin Peaks" DNA.
    • 59 Metascore
    • 58 Verne Gay
    The writing is sharp, but sharp-edged too. Overwhelmed with venom, Queens tends to be more mean-spirited than free-spirited. The cast is energetic, particularly Roberts and Curtis, who look like they're having a great time. But they can't quite convey that fun to the audience.
    • 69 Metascore
    • 58 Verne Gay
    The cast has major potential, but Life Unexpected still needs to find an original and compelling voice.
    • 42 Metascore
    • 58 Verne Gay
    Yes, cliches about wealth and privilege abound and are confirmed, or perhaps further embedded....But NYC Prep is so eager to establish a kinship with "Gossip Girl" that it's forgotten to tell much of a story.
    • 48 Metascore
    • 58 Verne Gay
    Princesses is not nearly as offensive as "Jersey Shore." The bad: It's still pretty dumb.
    • 58 Metascore
    • 58 Verne Gay
    It's a Pre-Cambrian specimen that crept out of the primordial ooze of TV past, with a rhythm so profoundly familiar that if you happened to fall asleep during the first few minutes and woke up for the last, you'd be able to mentally reconstruct the entire program from scratch.
    • 57 Metascore
    • 58 Verne Gay
    A convoluted story that doesn’t seem all that worthwhile to unravel, or peel--or watch..
    • 49 Metascore
    • 58 Verne Gay
    [Shalom Auslande's] worldview is one part Christopher Hitchens, one part Samuel Beckett, one part Louis CK.... If all that makes his funny-ish new show sound bitter, angry, provocative and even compelling, then (well) that's because it is. But Happyish can also be wildly uneven and a little too smug in its certitude.
    • 36 Metascore
    • 58 Verne Gay
    There's a smoldering ember of promise here, mainly in the cast, even if the pilot tended to smother it.
    • 45 Metascore
    • 58 Verne Gay
    Name aside, Cyber's pokey and old-fashioned, but the leads are the big draw.
    • 77 Metascore
    • 58 Verne Gay
    It's all standard Schumer stuff, and nothing fans haven't sort of heard before, or maybe laughed at before, or cringed at before, or seen elements of before (her 2012 Comedy Central special). Those fans should be pleased. As usual, everyone else will be appalled.
    • 44 Metascore
    • 58 Verne Gay
    A competent, connect-the-dots procedural that never offers much of a case for why a remake was needed.
    • 55 Metascore
    • 58 Verne Gay
    Not so much scandalous as scandalously dull.
    • 15 Metascore
    • 58 Verne Gay
    Yes, offensive, but the second episode loses that element, which suggests Fox got the message. Not surprisingly, it's the better of the two.
    • 52 Metascore
    • 58 Verne Gay
    Perception is both clever and ridiculous.
    • 52 Metascore
    • 58 Verne Gay
    After Spartacus blows most of its special-effects budget on the pilot, it settles into a not-bad sword-and-sandal genre series, a la "Xena" or "Hercules."
    • 52 Metascore
    • 58 Verne Gay
    Some excellent special effects are in Monday night's episode, but nothing particularly shocking because it's become abundantly clear by now that The Dome can do any damn thing The Dome--or the writers--want.
    • 65 Metascore
    • 58 Verne Gay
    What's missing is passion, joy and (ultimately) interest.
    • 44 Metascore
    • 58 Verne Gay
    Not great comedy, but hopefully the beginning of long overdue recovery process for a talented, troubled actor.
    • 59 Metascore
    • 58 Verne Gay
    These too-timid re-enactments, punctuated with the occasional burst of VFX gunfire, are interspersed with some informative commentary by real experts like veteran mob reporter Selwyn Raab and dramatically less informative observations by actors like Vincent Pastore, who of course played a mobster on TV.
    • tbd Metascore
    • 58 Verne Gay
    Oddly amusing and amusingly odd.
    • 48 Metascore
    • 58 Verne Gay
    Hap and Carla are certainly a great-looking couple, standing in the shadow of the North Dakota Rockies. What they're not is a heightened version of Blake and Alexis Colby Carrington, the sort of heights I was really hoping for here.
    • 65 Metascore
    • 58 Verne Gay
    Nothing much new here (based on the first hour), but Remini appears resolute, tough-talking and potentially formidable.
    • 59 Metascore
    • 58 Verne Gay
    As a family, they are particularly eager to convey a sense of normalcy, but Sister Wives still doesn't have much interest in exploring the religious underpinnings or larger ethical questions of this anything-but-normal lifestyle. You're left without a solid clue why the Browns--all five of them--have gone to this much trouble.
    • 48 Metascore
    • 58 Verne Gay
    Good-looking--also lethargic, languid, listless and a little bit lifeless--at least in the early going.
    • 49 Metascore
    • 58 Verne Gay
    Sarah Palin's Alaska is part-travelogue, part-"Todd and Sarah Plus Eight," part-slick political infomercial, and part Mark Burnett hokum - and oddly fascinating for all those reasons.
    • 58 Metascore
    • 58 Verne Gay
    Nice looking, but not nearly enough action.
    • 57 Metascore
    • 58 Verne Gay
    Allegiance is a curious duck, indeed. Smart and sophisticated certainly, but -- occasionally--a bit dim-bulbed and hokey, too.
    • tbd Metascore
    • 58 Verne Gay
    At least Take Me Out has plenty of energy and camp.
    • 51 Metascore
    • 58 Verne Gay
    In the pilot, some of the lines even find their mark--assuming the intended mark are sites like BuzzFeed, Digg, Cracked, Reddit, Upworthy and so on. But the millennial jokes quickly grow stale, along with their “what is it with these kids” setups.
    • 42 Metascore
    • 58 Verne Gay
    A prime-time soap that wants to be harder-edged than “Empire,” but instead manages to be less fun.
    • 66 Metascore
    • 58 Verne Gay
    The Bomb is a headlong-rush past the milestones and guideposts of this history, rarely pausing to explore their deeper consequences or meaning, while offering just a nod now and then to enduring controversies, or acknowledging--though barely exploring--the huge personalities that shaped this history, such as Robert Oppenheimer. The actual science is almost completely ignored.
    • 47 Metascore
    • 58 Verne Gay
    The show juggled a lot of storylines last night, maybe too many, but the vibe feels right. "90210" is not a disaster, and the CW can now officially let out a deep ... sigh ... of relief.
    • 66 Metascore
    • 58 Verne Gay
    Falco--as always--remains one of TV's bright shining lights, but her Nurse Jackie suddenly feels like a work in progress.
    • 66 Metascore
    • 58 Verne Gay
    Thin, flavorless high school gruel, but the lead bad boy is intriguing.
    • 54 Metascore
    • 58 Verne Gay
    Headaches will be induced just in trying to unravel the plot mess Bon Temps finds itself in. At least this will be the last headache.
    • 51 Metascore
    • 58 Verne Gay
    It's all weirdly engrossing.
    • 76 Metascore
    • 58 Verne Gay
    Still sweet and sad, but often dour and slow, too.
    • 55 Metascore
    • 58 Verne Gay
    We already know too much and paradoxically too little about the JFK assassination. A TV movie needed to tell us something we don't know. No dice here.
    • 59 Metascore
    • 58 Verne Gay
    It's inert, lackluster and a trifle old-fashioned. Even the action scenes feel geriatric. It's also vaguely silly--a big reason the venerable good twin/evil twin gambit is better suited to comedy than drama.
    • 63 Metascore
    • 58 Verne Gay
    Glimmers of hope force their way through the fog of noir cliche.
    • 38 Metascore
    • 58 Verne Gay
    Bruckheimer assembly-line sausage stuffed with plenty of hooey and violence--but the leads are plenty appealing.
    • 72 Metascore
    • 58 Verne Gay
    Forte does seem to be having a good, slovenly time, but after a while, the whole affair starts to feel a bit wanton and self-indulgent.
    • 52 Metascore
    • 58 Verne Gay
    A not-bad spinoff that feels older than "The Vampire Diaries" and even more convoluted.
    • 52 Metascore
    • 58 Verne Gay
    Oh, sure, they can pierce necks and drink blood: Big deal! Any ol' vampire can do that. With a limited repertoire of vampire moves, the Radcliffs shoulda moved to Bon Temps instead of the Gates to learn some new tricks.
    • 46 Metascore
    • 58 Verne Gay
    In spots, it's been turned into an antic Saturday morning cartoon. A shame.
    • 38 Metascore
    • 58 Verne Gay
    Most of the material flatlines even before it begins, while never rising to the level of the HBO series to which it pays homage.
    • 51 Metascore
    • 58 Verne Gay
    After a rough start, Backstrom settles into an obvious, and comfortable, procedural rhythm.
    • 43 Metascore
    • 58 Verne Gay
    After this overheated effort to make Charlie interesting, or at least different, she's basically just another Carrie Mathison without the pills.
    • 56 Metascore
    • 58 Verne Gay
    This is a Danny McBride comedy--not exactly funny, but weirdly engaging in its own uncomfortable way. His fans should be pleased. Everyone else will be puzzled--or worse, repulsed.
    • 62 Metascore
    • 58 Verne Gay
    The Following is a bummer of significant proportions. Not that it's bad--it's not--but it's bleak, sordid, blood-spattered and creepy (though not necessarily always "creepy" in a good way, like "The Walking Dead").
    • 65 Metascore
    • 58 Verne Gay
    What's wrong here are some of the same elements that have made the 2013-14 network comedy crop one of the weakest in memory--not enough laughs, not enough of a show that feels like it has something interesting to say (and wants to say it).
    • 76 Metascore
    • 58 Verne Gay
    There’s some funny stuff on the Netflix version (two episodes were made available). Truthfully, just not enough. In fact, W/Bob & David can be more tedious than inventive.
    • 52 Metascore
    • 58 Verne Gay
    Flesh and Bone is so grim, so devoid of pleasure, so moldering that you're left to wonder why this significant collection of talent didn't actually have something fun or exciting to say about the New York ballet world.
    • 54 Metascore
    • 58 Verne Gay
    Neither offensive nor particularly funny, it's merely another average, laugh-track-addled sitcom. The four leads are fine; they just need better material.
    • 66 Metascore
    • 58 Verne Gay
    Honestly, it's a complete oddball with some charm and a few good lines.
    • 51 Metascore
    • 58 Verne Gay
    There’s a fascinating sideshow here--Carey’s tough manager--otherwise this is a by-the-book celebrity reality series that just happens to star one of the world’s biggest celebrities.
    • 68 Metascore
    • 58 Verne Gay
    Violent and dull.
    • 74 Metascore
    • 58 Verne Gay
    A rare HBO misfire--but I do hope Amy finds peace.
    • 51 Metascore
    • 58 Verne Gay
    It's pretty much impossible to describe The Beast without getting tangled in the underbrush of potboiler cliche....The good news, in fact, the wonderful news, is that Swayze really is good.
    • 54 Metascore
    • 58 Verne Gay
    Good-hearted and gentle, Fisher struggles on the "funny" front.
    • tbd Metascore
    • 58 Verne Gay
    Roughness still feels bland and unexceptional. Thorne remains what's best about this idea in the first place.
    • 68 Metascore
    • 58 Verne Gay
    The show ambles along without getting viewers to particularly care about Alex or Pete. Without that requisite electricity, they're hollow, or just sad.
    • tbd Metascore
    • 58 Verne Gay
    The third season was a two-headed monster. One was Sam and Ron; the other was Shore's typically moronic, casually vulgar, breezily amusing self. Guess which one was unwatchable.
    • 72 Metascore
    • 58 Verne Gay
    Dutiful, respectful, evenhanded, and full of old network TV news clips that attest to the great drama of the moment, Confirmation can also be about as adventurous as a televised hearing on C-SPAN.
    • 81 Metascore
    • 58 Verne Gay
    Sumptuously produced but glacially told, The Crown is the TV equivalent of a long drive through the English countryside. The scenery keeps changing, but remains the same.
    • 37 Metascore
    • 58 Verne Gay
    Messy, discordant opener with potential.
    • 36 Metascore
    • 58 Verne Gay
    This isn't only "Frasier," recast as a standard family sitcom. It's "Green Acres."
    • 65 Metascore
    • 58 Verne Gay
    The River still has a quirkily eccentric charm. It's just so deliciously odd.
    • 70 Metascore
    • 58 Verne Gay
    Hannibal isn't quite the sum of its admittedly evocative parts. The story is often strained, or like that poor synth operator, overextended; the shocks tend to be operatic--oversold as opposed to a deft sudden jolt to emotional solar plexus.
    • 73 Metascore
    • 58 Verne Gay
    Looking occupies some fuzzy ill-defined middle ground filled with uni-dimensional characters.
    • 58 Metascore
    • 58 Verne Gay
    Legends simply feels too loose, too campy.
    • 63 Metascore
    • 58 Verne Gay
    The Latina female leads are--to put this in a way that's both politically correct and blandly inoffensive--vivacious.... That trademark Cherry wit, written in acid, is evident here. too.... But the biggest problem here is the sprawl--lots of stories, lots of characters, lots of colors--and not one them going anywhere in a hurry.
    • 54 Metascore
    • 58 Verne Gay
    Dramatically inert, Badlands is at least technically accomplished.
    • tbd Metascore
    • 58 Verne Gay
    The first couple of episodes are on the tedious side. Bad guys still die, things still get blown up.
    • 44 Metascore
    • 58 Verne Gay
    A genial, old-fashioned--nay, prehistoric--family sitcom on the wrong network.
    • 48 Metascore
    • 58 Verne Gay
    Sure, there are some fun moments. Sure Brosnan looks mah-velous. He always does. But a little less plodding plot and a lot more action, please.
    • 63 Metascore
    • 58 Verne Gay
    Too brittle and full of bile to cleanly hit the target.
    • 58 Metascore
    • 58 Verne Gay
    This is an extremely tough balancing act or--back to the musical analogy--this is a show where the notes have to play exactly right. They don't here.
    • 48 Metascore
    • 58 Verne Gay
    Finding original humor in this tired old horse of a format may not only be difficult, but close to impossible.
    • 38 Metascore
    • 58 Verne Gay
    The fatal attraction story line is a long windup to a punchline you already know, and promos have revealed it as well. The mystery element is plopped down in the middle of that particular story like a lead MacGuffin.
    • 63 Metascore
    • 50 Verne Gay
    An easily digestible guide to pop culture that can make any water-cooler conversation more interesting (or interminable). But this television adaptation--if tonight's premiere is representative--does not work.
    • 44 Metascore
    • 50 Verne Gay
    Creator Shonda Rhimes promised deeper, sharper medical stories this season to tether this show to the ground, and tonight Private Practice delivers those - even if the so-called "moral gray" area of each feels contrived.
    • 24 Metascore
    • 50 Verne Gay
    While "Men" may have the nutritional equivalent of stick gum, there's some genuine charm here along with a surprisingly seasoned and talented cast.
    • 62 Metascore
    • 50 Verne Gay
    Boo Boo is critic-proof. Call it vulgar, call it schlock, call it a cup of flatulence, call it whatever you like. But John Waters called it first: America loves its trash culture, smells and all.
    • 50 Metascore
    • 50 Verne Gay
    Accidentally feels like a show that's nearly been focus-grouped into oblivion--with lines, beats and a cultural resonance that's so familiar you can almost see the baseball bat of predictability descending upon your head. So be it. Elfman's fine, as usual. This could be worse.
    • 53 Metascore
    • 50 Verne Gay
    Murdered innocents, a gory sword fight in slow motion and dry, witty, dialogue. Yes, it's all here, but what's missing is ... excitement.
    • 47 Metascore
    • 50 Verne Gay
    Unlikeable characters fill the foreground, while an unfocused music track fills the background.
    • 52 Metascore
    • 50 Verne Gay
    Pulp hooey with a comic book vitality and earnestness that manages to keep it (usually) on track.
    • 46 Metascore
    • 50 Verne Gay
    Problem here is that Beers is yoking his specialty with something that is not his forte--reality competition. The result often feels forced and frivolous.
    • 56 Metascore
    • 50 Verne Gay
    The Ranch isn’t hateable as much as just bone-weary. It’s a by-the-dots, or the numbers--whichever are easiest to connect--sitcom that proceeds according to formula.
    • 65 Metascore
    • 50 Verne Gay
    Family is a trifle--part comic book, part kids' show--that is perfectly pleasant but without edge, bite or dramatic heft. With Chiklis aboard, it's like witnessing a concert pianist execute an elaborate version of "Chopsticks."
    • 49 Metascore
    • 50 Verne Gay
    BFF is not bad--classify this as another Young Urban New York-based sitcom--but it's not great, either, or certainly not smart enough, or different enough, or flat-out funny enough to deserve anything other than the bleak future that now appears preordained.
    • 61 Metascore
    • 50 Verne Gay
    The New Normal needs to take a deep breath, get off the soapbox and get funny fast. The right elements--talented cast and showrunner--are already in place.
    • 33 Metascore
    • 50 Verne Gay
    Cynical, randy, derivative and as wearily familiar as a cup of cheap joe, "Freddie" is also expertly cast, acted, written and directed.
    • 55 Metascore
    • 50 Verne Gay
    Sure, it's summer and the viewing is easy--and Zoo is about as easy as it gets. There is some fun here, or potentially some fun.
    • 64 Metascore
    • 50 Verne Gay
    Linney is a fine actress, but her material here doesn't match her talents.
    • 67 Metascore
    • 50 Verne Gay
    I think I comprise a third type--a wary Weeds fan who's happy it's back but hardly ecstatic.
    • 64 Metascore
    • 50 Verne Gay
    There's an almost overwhelming been-there-seen-that feel to the pilot, which doesn't really offer any suggestion of "well, you haven't seen this."
    • 66 Metascore
    • 50 Verne Gay
    Some brief memorable performances, particularly Cusack as a tippling housewife. Otherwise, an inexplicable misfire.
    • 61 Metascore
    • 50 Verne Gay
    The cast in fact is terrific. (It also includes Norbert Leo Butz, Peter Gerety and AnnaSophia Robb.) A cramped, airless setting is the critical flaw here. Nothing comes to life--words, drama or most of all, characters.
    • 75 Metascore
    • 50 Verne Gay
    There's a wonderful cast here... There's even an intriguing core idea... But the show also feels phony from beginning to end.
    • 35 Metascore
    • 50 Verne Gay
    Every single scene, and just about every line, will remind you that this is an unapologetically, gloriously idiotic enterprise. ... For discriminating viewers; shark lovers; sharks; meteorologists: F. For “Sharknado” fans: B
    • 36 Metascore
    • 50 Verne Gay
    Outlaw isn't bad as much as bogus. The whole faulty premise creaks and groans under the weight of a now-you-see-it-now-you-don't shell game, as key plot points zip by, then are quickly tucked back under their shell in the vain hope you won't remember them, or maybe take them at face value.
    • 51 Metascore
    • 50 Verne Gay
    Mildly amusing, though take out some of the harsh language and you've got more of a Disney Channel or TeenNick series than a memorable Fox one.
    • 60 Metascore
    • 50 Verne Gay
    Purefoy brings some raffish charm to the role, but these days, who wants to embrace raffish philandering philanthropists--particularly ones so defiantly dim.
    • 64 Metascore
    • 50 Verne Gay
    Noah's Daily Show at once felt confident but also oddly tentative. Smoothly delivered but uneven.... Not quite a rocky start, but not an emphatically comforting one for fans either.
    • 59 Metascore
    • 50 Verne Gay
    To love "Smith" is to love an ice cube. There may be a cold beauty to the craftsmanship of this enterprise, but there's a pinched, frostbitten heart at the center of it as well.
    • 61 Metascore
    • 50 Verne Gay
    Coin of the realm - pun intended - for TV games is familiarity, but that hardly confers an urgency to watch this one.
    • 63 Metascore
    • 50 Verne Gay
    The ambition’s an admirable one, and Outsiders clearly has ambitions. But what it doesn’t have is much of a story or all that much conviction in the one it’s telling.
    • 62 Metascore
    • 50 Verne Gay
    My heart tells me that any show that revolves around an honest-to-goodness native of Commack deserves an A+. My head tells me this one deserves a C.
    • 66 Metascore
    • 50 Verne Gay
    Hairspray Live! is forgettable.
    • 39 Metascore
    • 50 Verne Gay
    There is at least one troubling aspect to "Wishes" - an abundance of product placements within the show itself, which begs the question: Does salvation come with a price tag?
    • 57 Metascore
    • 50 Verne Gay
    The pilot is, in fact, baffling, and needlessly so.
    • 69 Metascore
    • 50 Verne Gay
    Few divorces are pleasant, but the sharp, nasty scenes between Abby and Jake are the only emotionally honest moments over the first two episodes. Not surprisingly, they're the best ones, too. A shame the antagonists are so unlikable.
    • 34 Metascore
    • 50 Verne Gay
    "Teachers" isn't half-bad.
    • 69 Metascore
    • 50 Verne Gay
    It's as if Empire had too many antecedents, and--failing to decide upon one--embraced them all. The result is an interesting idea that can't quite figure out what that idea actually is--or where it should go from here.
    • 64 Metascore
    • 50 Verne Gay
    I'm punchy after an hour-and-change of lame chases, inane dialogue, ludicrous plot twists and absurdist acting techniques. But by the end of this, I pretty much had a crush on Piper Perabo and Anne Dudek (who plays her sister), so I guess it was worthwhile after all.
    • 48 Metascore
    • 50 Verne Gay
    That's a lot of pressure, even for Iron Jay, and maybe why Night One felt like a work in progress--terribly rough in spots, not bad in others.
    • 68 Metascore
    • 50 Verne Gay
    It's still the Meredere (or Deremere) show, and Cristina's right. It's just ... so ... over.
    • 26 Metascore
    • 50 Verne Gay
    Truth Be Told doesn't let its issues come from the characters. The issues are the characters. Maybe future episodes will flesh out these people, but they initially serve as stick figures on which to hang "outspoken" opinions seeming not necessarily their own.
    • 49 Metascore
    • 50 Verne Gay
    This louche Lucifer is mostly a cop procedural snooze.
    • 50 Metascore
    • 50 Verne Gay
    The first half is tautly produced, before there's a dramatic--and dramatically dull--downshift that'll get you ready for beddy-bye.
    • 40 Metascore
    • 50 Verne Gay
    This all felt too commercial, too slick, too “American Idol”-ized. The Passion is Christianity’s foundational story. This usually--also awkwardly and regrettably--felt like just another TV one.
    • 63 Metascore
    • 50 Verne Gay
    "Undercovers" is so content to lapse into genre conventions, that it feels complacent and banal. Worse, Kodjoe and Mbatha-Raw have such minimal chemistry that they seem to be shadowboxing most of the time.
    • 38 Metascore
    • 50 Verne Gay
    Though Saget is amiable and likable here, the ratio of good quips to groaners is still only about one-to-four.
    • 68 Metascore
    • 50 Verne Gay
    Fans will love Tuesday night's supersized launch. I'm just limp and weary from it all.
    • 43 Metascore
    • 50 Verne Gay
    It's the anti-talk show, the talk show that isn't a talk show, the talk show from another planet--that would be Staten Island--talk show. And yet, in a weirdly unexpected way, it almost works--and potentially could work.
    • 66 Metascore
    • 50 Verne Gay
    V has its fun moments, but mostly this is pure bunkum, or 1980s-era TV with a thin 2009 veneer.
    • 48 Metascore
    • 50 Verne Gay
    Neither great, nor horrible, nor propitious nor preposterous. It was just a start, and in the late-night TV game, sometimes that's good enough.
    • 56 Metascore
    • 50 Verne Gay
    Matt Olmstead and Nick Santora are two solid guys who know how to make good TV and Lombardozzi and Alonzo are superior actors. But there are only flashes of promise here.
    • 42 Metascore
    • 50 Verne Gay
    Past Life is a straight-down-the-middle cop procedural--"Cold Case" with a gimmick--when quirkiness, humor and even some bogus science or crackpot theology would have given it some heft or at least a sense of fun.
    • tbd Metascore
    • 50 Verne Gay
    Lies very much remains a taste acquired--inconsistent with a tone that's jagged and only intermittently funny.
    • 57 Metascore
    • 50 Verne Gay
    Skins is a bit clunky and even dated at times. Nor does it feel all that grounded in the real world, where it badly wants to be.
    • tbd Metascore
    • 50 Verne Gay
    Barbarians does offer a reasonably detailed look at a chapter in history that doesn’t usually get much prime-time exposure.
    • 60 Metascore
    • 50 Verne Gay
    Of necessity, the story is so rushed, the characters so carelessly brush-stroked, that what should be climactic--the first manned spaceflight--feels incidental, almost blase.
    • 58 Metascore
    • 50 Verne Gay
    Not terrible, not without charm, not a bad cast (in fact, a pretty good cast).... As a consequence, not particularly funny or memorable either.
    • 56 Metascore
    • 50 Verne Gay
    We've been down this road before and all the signposts of Underemployed look the same.
    • 39 Metascore
    • 50 Verne Gay
    If Cecil B. DeMille's 1956 film was the Barnum & Bailey Big Tent version of the story of Exodus, this is the snippy little art house version - smarter (perhaps), a lot more accurate (perhaps) and indisputably duller.
    • 60 Metascore
    • 50 Verne Gay
    Parker’s good, but otherwise Divorce is sullen and sodden.
    • 66 Metascore
    • 50 Verne Gay
    Over these 52 minutes, she hits 50 states, so of necessity the pace is brisk and to the point. You don't really get to know anybody, but a sea of faces from the Mideast to the Far East tell her of their hopes and dreams in short, sharp sound bites.
    • 46 Metascore
    • 50 Verne Gay
    Just to keep our restaurant metaphors straight, this newcomer does a competent job of setting the table, but when the plates arrive, there’s nothing on them.
    • 41 Metascore
    • 50 Verne Gay
    The thing looks stylish, has a nice cast, is well written, and Bratt--scruffy, unkempt, a little more than off-center here--has the requisite intensity for the role. But it also is jarringly slick and borderline seamy; maybe that's just part of the fast world Banks and his cohorts find themselves in, but the tone ultimately robs the show--or at least the pilot--of heart and passion.
    • 71 Metascore
    • 50 Verne Gay
    Vinyl is a compelling idea in search of a compelling story. There simply isn’t much of one, in fact, and--abhorring the ever-present vacuum--a lot of other elements rush in to fill the void. Scenes are padded, lots of flashbacks are even more flaccid, while actors devour the helpless scenery.
    • 45 Metascore
    • 50 Verne Gay
    This Bible probably won't offend anyone, but it's hard to imagine it will inspire anyone, either.
    • 58 Metascore
    • 50 Verne Gay
    The setup is stagey, the dialogue slack (or--worse--obvious).... [Jane Fonda and Lily Tomlin] effortlessly know how to elevate even average material--and pretty much do so here.
    • 51 Metascore
    • 50 Verne Gay
    The good news is that "Brothers & Sisters" isn't even remotely a disaster. The bad news is that it isn't even remotely a success either.
    • 65 Metascore
    • 50 Verne Gay
    Asylum has some good special effects, just not much of a story to hang them on.
    • 62 Metascore
    • 50 Verne Gay
    There's no sense of spontaneity, no sharp thrill of discovery (or fear). Gracepoint just plods along, right straight into the surging Pacific tide.
    • 56 Metascore
    • 50 Verne Gay
    Body of Proof feels like a show that has nearly been nibbled to death by network ducks. You can almost see the TV executive Post-it notes on the screen.
    • 51 Metascore
    • 50 Verne Gay
    Recycled theory with some fresh perspective--but it still smells recycled.
    • 62 Metascore
    • 50 Verne Gay
    Banshee is baloney, but viewed as pure camp, there are some good action sequences and amusing moments.
    • 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.

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