For 876 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 3.3 points higher than other critics. (0-100 point scale)

Verne Gay's Scores

Average review score: 69
Highest review score: 100 Mad Men: Season 6
Lowest review score: 0 American Inventor: Season 1
Score distribution:
  1. Negative: 72 out of 876
876 tv reviews
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 57 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 27 Metascore
    • 42 Verne Gay
    "Lord of the Flies"-meets-a-telephone book, and just about as entertaining.
    • 49 Metascore
    • 42 Verne Gay
    This is a shame and a waste of three gorgeous actresses, a wonderful actor (Gross) and an idea that--with a little more wit, smarter writing and less soap--could have yielded a winner.
    • 62 Metascore
    • 42 Verne Gay
    Pilkington's musings are sometimes amusing and always pointless, but the animation almost totally nullifies the first and intensifies the second.
    • 19 Metascore
    • 42 Verne Gay
    A couple of the lines are surprisingly offensive, and a couple others even surprisingly amusing.
    • 61 Metascore
    • 42 Verne Gay
    The Unusuals is not a good show; it is a messy, uneven, silly, inconsequential show.
    • 68 Metascore
    • 42 Verne Gay
    This series boasts some reasonably high production values, certainly for Comedy Central, with lots of energy, and a sense that it knows where it's going and how to get there. But the tone is so relentlessly mean-spirited, the guys so unlikable, their predicament so pathetic that Big Time deflates before your very eyes.
    • 52 Metascore
    • 42 Verne Gay
    Even with endless talk about genitalia and the things people can do to them, The League is surprisingly dull and slack - without snap or payoff.
    • 56 Metascore
    • 42 Verne Gay
    Bland, with no pop or energy, Scoundrels limps sadly along.
    • 41 Metascore
    • 42 Verne Gay
    [Robinson] is funny, and there are fleeting reminders of that.... Then it all goes sour, and flat.
    • 55 Metascore
    • 42 Verne Gay
    This is a very good cast laboring through terribly weak material.
    • 58 Metascore
    • 42 Verne Gay
    With feet of clay, Aquarius plods relentlessly toward a climax everyone already knows, while making just enough fictional detours to make the journey truly exasperating.
    • 57 Metascore
    • 42 Verne Gay
    There's some charm here, but it's as fleeting as a tweet.
    • 58 Metascore
    • 42 Verne Gay
    You hope for a laugh, pray for one, then give up. To be fair, tonight's pilot runs fast (19 minutes) and feels more like a "sizzle reel" than a fully formed show. Williams, at least, is a genius, and maybe he'll get the time to turn this into something worth watching.
    • 64 Metascore
    • 42 Verne Gay
    Get past the mawkishness (if you can) and there's a sweetness here, and geniality. The Michael J. Fox Show needs to be much more, but love is hard to shake.
    • 42 Metascore
    • 42 Verne Gay
    What's fascinating is just how ruthlessly it has been edited, or (more likely) re-edited since the breakup to turn you-know-who into Little Ms. Perfect.
    • 43 Metascore
    • 42 Verne Gay
    [Neil Patrick Harris was] hampered here by a format that might work better on daytime TV than at night, and better in the U.K. than here, and by gimmicks that seem more in step with the Velveeta spirit of "America's Got Talent," and by a show that's almost willfully aggravating, he may have met his match with Best Time Ever.
    • 60 Metascore
    • 42 Verne Gay
    A frustrating film that leaves the questions--pretty much all of them--unanswered.
    • 52 Metascore
    • 42 Verne Gay
    A grim, macabre march through a terrible crime, deploying a bad twist--the voice of the deceased.
    • 72 Metascore
    • 42 Verne Gay
    Some amusing lines, but otherwise a disappointing misfire.
    • 48 Metascore
    • 42 Verne Gay
    The pilot has some funny moments, but after that, Kirstie starts to flatline.
    • 30 Metascore
    • 42 Verne Gay
    Sure, The Cougar is idiotic--these shows always are. That's a large part of their appeal. But casting fouled up here.
    • 79 Metascore
    • 42 Verne Gay
    Orange" is a slog, where minutes seem to stretch into hours, hours into days ... and the drip, drip, drip of prison time becomes its own reality.
    • 36 Metascore
    • 42 Verne Gay
    This feels more like a rushed afterthought by Fox instead of a fully developed premise that could carry a pair of seasoned actors to their retirement, or at least to a big payday.
    • 46 Metascore
    • 42 Verne Gay
    Satire administered with a Wiffle ball bat. A dull thud, where there should be a sting.
    • tbd Metascore
    • 42 Verne Gay
    Buckwild isn't offensive as much as just boneheaded--almost as much "Jackass" as "Shore."
    • 46 Metascore
    • 42 Verne Gay
    Unsupervised is a cheerier, less nihilistic "Beavis and Butt-head Lite," and not remotely as funny or trenchant.
    • 58 Metascore
    • 42 Verne Gay
    A paint-by-the-numbers biopic with the dramatic vitality of a tree stump.
    • 56 Metascore
    • 42 Verne Gay
    The dialogue's preposterous, the plot ludicrous, and the premise as fresh as a wrung-out old mop.
    • 50 Metascore
    • 42 Verne Gay
    With material this thin, the actors can only do a competent job of mimicry. Mimicry is about all you'll get.
    • 54 Metascore
    • 42 Verne Gay
    Defying Gravity is a glorious, glimmering glop of foolishness--a spitball magnet of the first order that elicits jeers when it wants tears and catcalls when striving for philosophical heft.
    • 30 Metascore
    • 42 Verne Gay
    Reboots can work ("Hawaii Five-0"), but they haven't got a prayer if they lavishly, ludicrously, embrace all the hooey and hokum of the original. Welcome to the new Angels.
    • 39 Metascore
    • 42 Verne Gay
    It is so numbingly derivative--effectively a dull mash-up of "House" and "Private Practice"--that you quickly forget it's also numbingly silly. But then, maybe that's the whole idea.
    • 26 Metascore
    • 42 Verne Gay
    Liz & Dick is not a complete disaster, nor entirely is Lohan.
    • 33 Metascore
    • 42 Verne Gay
    The party's over, the hangover's begun, and the final summer looks like it's gonna be a long and wet one.
    • 64 Metascore
    • 42 Verne Gay
    Magic City--on paper, not on screen--remains a compelling idea in search of great execution.
    • 36 Metascore
    • 42 Verne Gay
    It's bright! It's energetic! It has that sort of dialogue that zips, zaps and zings! It's even ironic! Yet, at its very core, Motherhood is completely vacant.
    • 64 Metascore
    • 42 Verne Gay
    Tired, self-amused, occasionally boorish, entirely dull and much (much) more about Ferrell than baseball, Campaneris, or those charities. The joke is a long one.
    • 53 Metascore
    • 42 Verne Gay
    Messy pilot that doesn't offer enough backstory, or reason to care all that much about Constantine.
    • 57 Metascore
    • 42 Verne Gay
    There's desperation here, and if Happy Endings would slow down long enough to let itself breathe, it might find a footing.
    • 48 Metascore
    • 42 Verne Gay
    Marta as Mob Mom is not fully believable or recognizable or (for that matter) relatable on any level. Without empathy, this "red widow" is just plain dull.
    • 61 Metascore
    • 42 Verne Gay
    The Ex List--based on an Israeli hit ("Mythological Ex"), with whiffs of "How I Met Your Mother" and "My Name Is Earl" - is a flat-out great idea for a TV series. But Ruggiero (who's since left the show) needed a strong partner to reign in her worst impulses, like a running gag about shaved genitalia.
    • 52 Metascore
    • 42 Verne Gay
    Silly, but let's take the glass half-full approach. There's nowhere to go but up.
    • 39 Metascore
    • 42 Verne Gay
    Nothing particularly interesting or revelatory. For this to work--at least for viewers--The Hoff needs to move past self-parody, or at least take himself seriously. He tries here, but the exercise still seems flimsy and hollow.
    • 56 Metascore
    • 42 Verne Gay
    Sleepy, listless, dull. But it has a great set; the beach and clouds on the horizon are alluring.
    • 33 Metascore
    • 42 Verne Gay
    It's the tired guys will be guys trope dusted off for one of TV's pre-eminent comic actors, Tony Shalhoub, who can't even break through the smog of mediocrity that's enveloped him here.
    • 61 Metascore
    • 42 Verne Gay
    It's all got the stirrings of something that should be funny, or wants to be funny, except that it's too often not - confoundedly, relentlessly, insistently not. [3 Jan 2015]
    • Newsday
    • 42 Metascore
    • 42 Verne Gay
    Cheer Perfection is numbing in its ordinariness--dull, trivial and never, ever outrageous.
    • 54 Metascore
    • 40 Verne Gay
    In its zeal to zing local TV news, "Dog" loses any flavor of authenticity, which is absolutely essential for effective satire.
    • 40 Metascore
    • 40 Verne Gay
    [A] shamelessly derivative cop show set in the shamelessly overexposed city by the bay, with high-school-play-level acting performances which help make the overall effect cornier than a cornfield in Kansas. And yet ... and yet, there's something appealing about ABC's new cop drama.
    • 29 Metascore
    • 40 Verne Gay
    A mini-triumph of style over substance (of which there is almost none).
    • 85 Metascore
    • 40 Verne Gay
    Yes, "Deadwood" was incomprehensible last season. It is incomprehensible this season. Fans will be delighted.
    • 57 Metascore
    • 40 Verne Gay
    While neither awful nor even particularly bad, there is an earnest silliness to the whole thing.
    • 37 Metascore
    • 40 Verne Gay
    "Standoff" does seem to emerge miraculously out of the fumes of '70s TV - a near-perfect reformulation of every bone-weary cliche, every hackneyed piece of cop chatter (Dan Tanna lives!) that last-century TV glorified in.
    • 50 Metascore
    • 40 Verne Gay
    The good news is that The Second One often is worse (in a good way) and does boast at least one viral YouTube clip, starring the head of the Statue of Liberty. (Poor Lady Liberty.) But The Second One is also more predictable, silly and self-conscious of the legacy.... For "Sharknado" fans: B- For viewers with highly refined tastes--or any taste--and sharks: F+
    • 32 Metascore
    • 40 Verne Gay
    Viewers will immediately locate the central flaw. If half of the contestants are so rich, then why go to all this trouble for $200,000?
    • 42 Metascore
    • 40 Verne Gay
    There is no fear in this show or any of the doom, shame, ignominy or flat-out reprobation that comes with getting one's head handed to one by the Donald.... Without fear, there is no danger and without danger, no drama.
    • 31 Metascore
    • 40 Verne Gay
    It's got some charm and there's some humor here, too--mstly at Jones' expense. But seriously, don't you have something better to do tonight?
    • 55 Metascore
    • 33 Verne Gay
    Jersey Shore is appalling, which is mostly its appeal, but it can also be funny, irreverent and breezily dimwitted--which is the rest of the appeal.
    • 51 Metascore
    • 33 Verne Gay
    This is a show that can't escape the shackles of that old mismatched-buddy-cop formula, even if one of them does happen to drive a cab.
    • 44 Metascore
    • 33 Verne Gay
    The show proceeds at gale force, demolishing logic, plot, meaning and (most of all) pleasure in its path.
    • 33 Metascore
    • 33 Verne Gay
    Absent a compelling core romance, and absent a passably beast-like beast, you're left with a sodden police procedural.
    • 43 Metascore
    • 33 Verne Gay
    The strange alt-reality of Sean Saves the World, where a hundred bits of TV past--floating aimlessly in our memories--have coalesced into a cultural artifact that feels as antediluvian as a Walkman.
    • 50 Metascore
    • 33 Verne Gay
    The oldest trope in the TV kingdom dies hard, and in fact dies not at all on Chicago PD, the latest from "Law & Order" creator Dick Wolf, who sleepwalks through this show, or at least doesn't bother to wake up long enough to rewrite any of the rules he's established over the past 30 years.
    • 52 Metascore
    • 33 Verne Gay
    A thorough whitewashing.
    • 36 Metascore
    • 33 Verne Gay
    You have a life--live it, and don't watch this.
    • 33 Metascore
    • 33 Verne Gay
    Dreadful. Or to use a more manly phrase, aaarrgggh, awful.
    • 48 Metascore
    • 30 Verne Gay
    What is missing here is heart, drama, and - most inexcusably - horror.
    • 48 Metascore
    • 30 Verne Gay
    It's bland, tired, listless, and if the show isn't having much fun, how can it expect viewers to?
    • 53 Metascore
    • 30 Verne Gay
    Call Girl is a dreary London day. A pass.
    • 48 Metascore
    • 30 Verne Gay
    The pilot was so uneven that the whole affair nearly veers into "Reefer Madness" territory--the kind of over-the-top cautionary fable that subverts honorable intentions through hysteria or cliche. Despite its pedigree, Teenager doesn't appear to have ever stepped inside a high school, either.
    • 41 Metascore
    • 30 Verne Gay
    There's no reason to pile on here, but this show needed many more months of gestation before getting thrown to the wolves.
    • 33 Metascore
    • 30 Verne Gay
    This wanna-be's as dumb as dirt, and, as a consequence, even makes Hollywood seem more toxic than it probably is.
    • 35 Metascore
    • 30 Verne Gay
    All this feels dutiful and rote - the CliffsNotes version.
    • 45 Metascore
    • 30 Verne Gay
    Private Practice is hugely disappointing, and in so many ways that a mere review can't even begin to do all the problems injustice.
    • 64 Metascore
    • 30 Verne Gay
    A sweet, gentle, good-natured trifle that is (nonetheless) surprisingly airless and only rarely funny, if that.
    • 44 Metascore
    • 25 Verne Gay
    Dim, dumb, dull, daffy and dippy, Discovery should know better.
    • 51 Metascore
    • 25 Verne Gay
    What's missing here, besides laughs? Chemistry.
    • 51 Metascore
    • 25 Verne Gay
    As the woebegone divorcee with an antic streak and a full-blown need to get down, Cox is not believable.

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