The A.V. Club's Scores

For 347 reviews, this publication has graded:
  • 58% higher than the average critic
  • 4% same as the average critic
  • 38% lower than the average critic
On average, this publication grades 2.5 points higher than other critics. (0-100 point scale)
Average TV Show review score: 67
Highest review score: 100 Black Mirror: Season 1
Lowest review score: 0 Grumpy Cat's Worst Christmas Ever: Season 1
Score distribution:
  1. Mixed: 0 out of 223
  2. Negative: 0 out of 223
223 tv reviews
  1. From episode three on, [Sheen] begins to give one of the most fascinating performances on TV.
    • 88 Metascore
    • 90 Critic Score
    Comparisons to The Wonder Years are inevitable, but Everybody Hates Chris scrapes away much of that golden nostalgia by putting a funny spin on frequently painful times.
  2. Togetherness threaten to become too familiar; it isn’t rote, but feels like it could become rote at any moment before swerving away from the expected outcome with seconds to spare.
  3. The show may have been simplified due to budgetary concerns, but that makes its core themes shine all the brighter.
  4. It’s Me, Hilary becomes a warm evocation of a time gone by, similar to Knight’s old drawings of the Plaza.
  5. Brooklyn Nine-Nine is a tight, funny pilot where the energy of the cast salvages the few down moments. Still, it lays some possible traps for the rest of the series, not the least of which is the ever-present temptation of cop-show cliché.
  6. As impressive as Sam is--a teenager trapped inside an old man’s body who never seems bothered by his circumstances--when the documentary focuses on his mother, it easy to see where he gets it from.
  7. As a technically proficient piece of visual storytelling, Boardwalk continues to excel.
  8. The series is at its most potent when it reframes the everyday in the context of the Cold War, like Philip comparing notes on home life with a Mossad operative or Elizabeth displaying a flash of vulnerability in front of a government-contracted dupe. (And then betraying that parental bond by turning it into a threat.) Other aspects of the show would do well to find this middle ground; they’re getting there in season two.
  9. The show initially relies too heavily on plots in which Cam’s career is imperiled by the family’s behavior, plots that come off as contrivances to give the family deeper roots in Cam’s world. But Remorse finds its sea legs once it realizes Cam’s family can afford to stand on its own, whether they realize it or not.
  10. Generation Cryo separates itself from the likes of Catfish and Teen Mom by not treating its subjects as spectacle. They’re portrayed as people dealing with issues that affect their everyday lives, recalling some of the better installments of the True Life series.
  11. The show is funny, but never gut-bustingly so; it’s most often a triumph of atmosphere, a hangout show with a tremendous (and too infrequently engaged) sense of tension.
  12. It can hit (Odenkirk, the best curser in the biz, swearing his way through a procedure) and miss (the ending of “Hole” is a bit soft) in equal measure. Either way, it’s exciting to watch Heidecker and Wareheim stretch their legs like this.
  13. Black Box doesn’t have that show’s [HBO's Enlightened] subtlety, but it’s certainly demonstrated an interest in creating a portrait of a contradictory and flawed, but powerful and engaging female character.
  14. Banksy Does New York doesn’t give more than a passing voice to Banky’s critics and skeptics. (If anything, it’s more harsh to the New York art world for largely ignoring the residency.) But the film does a fine job of getting at the tension that each day’s new piece inspired.
  15. The historical cosplayers relish their parts, lip-syncing drunken monologues with palpable joy. There is also an undeniable thrill in recognizing unexpected actors as they mouth along to incoherent rambles.
  16. It’s not doing a whole lot of work to examine the role of women in society, but it is a show with a single and still-novel goal: to entertain women, without patronizing them.
  17. Justified has always been a show about defining yourself, for yourself. So long as it keeps finding fresh criminal conspiracies to wrap around that core--as season five appears to have done--the show will remain a must-watch.
  18. On the strength of its cast, the beauty of its design, and the sheer joy it gets from its homages, it’s the sort of dreadful that’s mostly a delight.
  19. The sketches themselves are still baring teeth, starting with the fodder for the shows within the Show. The one thing that unites the collection of idiots played by Kroll and co-stars like Jon Daly and John Mulaney is a lack of self-awareness.
  20. Despite its missteps, House Of Cards’ third season is by far its leanest, most focused, and most absorbing.
  21. Sonic Highways does dig deeper than a lot of other musician-centric documentaries do.
  22. The series’ cast remains one of the better sitcom ensembles of the past decade.
  23. True Detective might be finding itself in the first half of its first season, but few processes of discovery are so enthralling to watch.
  24. In its pilot form, at least, Trophy Wife is surprisingly self-assured and confident, the sort of show that seems ready to hit its stride in just a week or two.
  25. Now, three seasons in, Dunham and her team are better at doing what they’ve been trying to do all along: create a string of lovely character vignettes, with a deliberate disinterest in plot and a fascination with a certain zeitgeist. This is specific enough that it has its disadvantages, but now that the characters have been around for two seasons, it’s become easier to understand their different versions of cluelessness.
  26. Where Bletchley succeeds is in its unapologetic, decidedly feminine take on British life in the ’50s.
  27. Pines is certainly weird, but it’s never predictable.
  28. Enlisted hasn’t realized all of its potential, but that it already has its characters in such good shape suggests much to anticipate for its future.
  29. Fargo is a singular idea with, so far, not-so-singular execution, perhaps suffering from the fact that what was revelatory in 1996 might be just humdrum in 2014.

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