For 44 reviews, this critic has graded:
  • 47% higher than the average critic
  • 2% same as the average critic
  • 51% lower than the average critic
On average, this critic grades 14.1 points lower than other critics. (0-100 point scale)

Virginia Heffernan's Scores

  • TV
Average review score: 51
Highest review score: 100 The Wire: Season 4
Lowest review score: 0 Notes from the Underbelly: Season 1
Score distribution:
  1. Positive: 18 out of 44
  2. Negative: 14 out of 44
44 tv reviews
    • 98 Metascore
    • 100 Virginia Heffernan
    This season of “The Wire” will knock the breath out of you.
    • 78 Metascore
    • 100 Virginia Heffernan
    A fiercely controlled and inventive work of art.
    • 90 Metascore
    • 90 Virginia Heffernan
    It's unlikely that Rescue Me, which continues to cast a serious spell, will turn into a womany show. When "we're Irish" fails to serve as a pretext for bad or capricious behavior on this show, the second-best explanation is still "we're men."
    • 46 Metascore
    • 80 Virginia Heffernan
    A very likable and melancholy drama about high school basketball and patrimony.
    • 63 Metascore
    • 80 Virginia Heffernan
    [A] beautiful, intelligent, imperfect show.
    • 46 Metascore
    • 80 Virginia Heffernan
    It's King done right.
    • 64 Metascore
    • 80 Virginia Heffernan
    Like Bravo's fashion winner "Project Runway," the channel's promising "Top Chef" flaunts terms of art and insiderism to give it authority.
    • 39 Metascore
    • 80 Virginia Heffernan
    “Big Day” is marvelously cast, and the actors, especially Wendie Malick, manage, like the cast of “24,” to convey a sense of urgency that almost belongs on the stage.
    • 51 Metascore
    • 70 Virginia Heffernan
    Another well-plotted show by Donald P. Bellisario.
    • 48 Metascore
    • 70 Virginia Heffernan
    The comedy is nifty, light and kind, even as it tries to be real, slitting open the stand-up themes of marital sex, masturbation and dope smoking until it's dirty enough to convince you that you're not being condescended to, but smart enough not to be grim. That's a huge feat.
    • 71 Metascore
    • 70 Virginia Heffernan
    Like the fledgling “John From Cincinnati” but with fewer side effects, “Big Love” derives suspense, humor and thrills from HBO’s signature insight: that Americans are profoundly anxious about how their families are different from other families.
    • 52 Metascore
    • 70 Virginia Heffernan
    If "Laguna Beach" looked perpetually like late afternoon -- the mellow light of cocktail hour, the promise of a party -- "The Hills" looks like a workday.
    • 59 Metascore
    • 70 Virginia Heffernan
    “My Boys” is certainly a charming knockoff.
    • 73 Metascore
    • 70 Virginia Heffernan
    This peculiar series seals NBC’s new role as the skinflint’s HBO. The shows “30 Rock,” “Friday Night Lights” and now “Andy Barker, P.I.” are all so engrossing and so creatively untrammeled that it’s almost suspicious.
    • 25 Metascore
    • 70 Virginia Heffernan
    The idle, boozy time between one romantic relationship and the next turns out to be a sweet spot for a sitcom.
    • 54 Metascore
    • 70 Virginia Heffernan
    But the particular stories are not what “Six Degrees” is ultimately about. Instead the show’s forte, for viewers like me who don’t mind piety on television, is its ambience of faith.
    • 75 Metascore
    • 70 Virginia Heffernan
    “Ugly Betty” is a sweet, funny show. It’s worth watching. And we’ll see.
    • 67 Metascore
    • 70 Virginia Heffernan
    There’s plenty to laugh at here.
    • 65 Metascore
    • 60 Virginia Heffernan
    An eclectic, speedy and fun-enough cartoon.
    • 58 Metascore
    • 60 Virginia Heffernan
    A quest romance in which Middle Earth is essentially Route 66, that national treasure, and some of its burned-out byways.
    • 49 Metascore
    • 60 Virginia Heffernan
    This first episode doesn’t offer enough payoff for those first scenes: far too much Hauser and running, and too little Boulet and talking. But the opening scenes give proof of intelligence, and the series might yet display that intelligence more effectively, and give Mr. Anderson room to play.
    • 77 Metascore
    • 60 Virginia Heffernan
    When this complex question about memory, identity, reality and generations of women supplies the suspense of the film, “Life Support” really gets good.
    • 70 Metascore
    • 60 Virginia Heffernan
    The film is bereft of feel-good scenes and drug-movie clichés.
    • 79 Metascore
    • 60 Virginia Heffernan
    If “This American Life” is all like this [opening] segment, it will be an immaculate and historic documentary series, with or without the storytelling pretext.
    • 37 Metascore
    • 50 Virginia Heffernan
    It’s pretty easy to loathe this stuff if you like your comedy more ragged, drug-addled and confrontational. But there’s an easygoing red-state pleasantness to it too, a celebration of timeless and consoling suburban inertia.
    • 33 Metascore
    • 50 Virginia Heffernan
    As with “Laguna Beach,” however, MTV seems to have deployed every camera at Viacom just following the cast members around town in case something exciting -- a cellphone call! - happens.
    • 69 Metascore
    • 50 Virginia Heffernan
    Leverage winds up seeming merely anachronistic, wrapping up with a cute resolution each week, the swine in handcuffs, not torn from the private hockey rinks of their Aspen vacation homes.
    • 44 Metascore
    • 40 Virginia Heffernan
    Still, if it's not funny, why give "Crumbs" any attention at all? Because it's an unusual experiment: not only is the show set among a fraction of the American gentry that few would consider relatable, but it also exhibits more gravitas than any sitcom in television history.
    • 21 Metascore
    • 40 Virginia Heffernan
    Those who don’t like a rogue's progress, preferring to cluck from a distance over the skeevy habits of today’s rich bachelors, should skip "Sons of Hollywood."
    • 38 Metascore
    • 40 Virginia Heffernan
    As a self-aware show, perhaps too self-aware, Nashville attends closely to the money-country nexus, mindful that it’s not your daddy’s, nor Robert Altman’s, "Nashville."