The A.V. Club's Scores

For 298 reviews, this publication has graded:
  • 57% higher than the average critic
  • 3% same as the average critic
  • 40% lower than the average critic
On average, this publication grades 2.2 points higher than other critics. (0-100 point scale)
Average TV Show review score: 67
Highest review score: 100 The Hollow Crown: Season 1
Lowest review score: 0 Dads: Season 1
Score distribution:
  1. Mixed: 0 out of 188
  2. Negative: 0 out of 188
188 tv reviews
  1. While that loving relationship between these two women is Playing House’s strength, to unlock its potential, and go beyond delightful sitcom, it needs to be about more than that, and there’s certainly potential for that growth.
  2. At best, it reminds sitcom fans that quality work is still being done in multi-camera; at worst, it’s a decent distraction during the hiatus for Heelan’s other show, the final link to a comic dynasty that wasn’t meant to be.
  3. Halt And Catch Fire has a great cast, a neat title, a solid pilot script from Chris Cantwell and Chris Rogers, and some intriguing direction from Juan José Campanella that turns both the human face and circuit boards into things to be broken down into component parts and understood. But it lacks a suggestion that it will reassemble the parts of better dramas that it has gathered into something uniquely its own, instead of a mostly functional knockoff.
  4. As an actors’ showcase, The Escape Artist is a distinct success. The fact that that very clearly was not its primary artistic goal only matters so much.
  5. Replicating the beats of that previous show isn’t as important to Girl Meets World’s potential for success as reviving the spirit of its inspiration. It’s there in measured doses in the pilot, bolstering the broader jokes, staged performances from child actors, and requisite feints toward classroom puppy love.
  6. Seed has a solid sitcom foundation, but suffers from limited ambition and a complete lack of promotion that makes it feel like a low priority for the network.
  7. The Chair has lots to show us about the changing face of independent media production, but it’s not confident enough in that material’s appeal to let it stand on its own.
  8. Already there’s a wistfulness underneath the light surface. Half the scenes in the pilot are rooted in sadness, and the other half are rooted in Eliza aggressively covering up for her sadness. Eliza may seem vapid, and Selfie may seem broad, but there’s more to this one than meets the eye.
  9. A To Z has the potential to be a sweet romantic comedy—if it doesn’t get caught up in its own quirks first.
  10. Cristela tries so hard and achieves so much--some potent jabs at broken-down American racial politics; portraying a family whose insults don’t undermine the genuine affection on-screen--that misfires are inevitable. But like the woman at its center, the show gets a long way on sheer effort.
  11. Such easy chemistry early on is a positive sign for the show’s future, as is the approach of the supporting cast, which gamely attacks the small amount of material it’s given in the pilot.
    • 48 Metascore
    • 75 Critic Score
    Z Nation is the show you watch if you want to see zombie guts splattered across the screen--and there’s nothing wrong with that.
  12. While it may not transcend its genre, The Missing is a strong addition to the canon.
  13. Many things are left up in the air by movie’s end that it’s hard to imagine making this for any other reason than to introduce a series. But there’s also a pulpy enthusiasm surrounding its many twists and loopholes.
    • 78 Metascore
    • 75 Critic Score
    The first episode offers more than enough intrigue to hook fans of spy thrillers, even if some of the elements are eye-rollingly familiar.
    • 75 Metascore
    • 75 Critic Score
    While Downton’s fifth season doesn’t quite return to form, it appears to do so often enough to make viewers consider what a Downton renaissance is supposed to look like.
  14. What makes Man Seeking Woman so promising is that it’s such a strong showcase for Baruchel. It’s hard to say whether Rich and his writers will be able to keep coming up with new trolls and aliens for Josh to disappoint, but it seems unlikely that they’ll ever exhaust the comic tension between the sunny Josh and cold, cruel dating world he finds himself exploring.
  15. Narratively and emotionally rushed, at least Buddy’s Musical Christmas smartly emphasizes its animated nature, through visual inventiveness and top-flight voice talent.
    • 65 Metascore
    • 70 Critic Score
    A lot about this series is frankly preposterous, but as pulp logic goes, Miller's bust-out plan is both ingenious and way cool.
    • 72 Metascore
    • 70 Critic Score
    Though the show has been tense and taut in the early going, creator Shaun Cassidy needs to figure out how to parcel out a narrative in episode form, with little stories playing out under the shadow of the big one.
    • 64 Metascore
    • 70 Critic Score
    It's only one good episode away from turning from intriguing to addictive.
  16. [The pilot is] very much a patch job on a project that needed more than a quick fix, but the direction it takes is encouraging.
  17. There are four or five different shows crammed into Mom. At least one of them is a potentially great show. One of the others could make for a largely enjoyable time-waster... But the others are all varying degrees of messy to distractingly awful.
  18. The series seems equally pitched between good--Lowe, a solid writing staff, and that mournful tone--and bad--Michael Socha as a helpful rogue who joins Alice on her quest and is already wearing thin by the end of the first episode--but for those who’ve enjoyed the parent series, even ironically, it stands as just enough of an improvement to recommend.
  19. Gillies’ character is one for the ages, and although the actor’s portrayal of him is as wonderfully measured as ever, his actions here feel like the equivalent of a vampire Parent Trap situation, with Gillies just trying to keep his siblings together using whatever trickery he can. Yet, in spite of all of these concerns, it still feels like there’s a show here.
  20. The Goldbergs is far from terrible—it just needs to learn how to mix the quirky dysfunction with the heartwarming moments in the style of shows like Malcolm In The Middle or Raising Hope.
  21. While all of the moments when civilization retreats in the face of the apocalypse are nicely handled, the overall plot is filled with pointless mystery, simply there to obfuscate whatever the season’s real story is.
  22. As has often been the case with torn-from-yesterday’s-headlines TV movies, the film is most worth sitting through for some of the performances.
  23. There’s an airlessness to Full Circle that vacuum-packs these performances but leaves little real life.
  24. While Downton Abbey has been stuck in the same basic theme of “tradition versus progress” for four seasons now, the closer it inches toward modernity, the more dynamic its basic setting of becomes, and there are moments in season four—particularly late in the season—when this version of the show shines through.

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