The A.V. Club's Scores

For 443 reviews, this publication has graded:
  • 60% higher than the average critic
  • 4% same as the average critic
  • 36% lower than the average critic
On average, this publication grades 3.2 points higher than other critics. (0-100 point scale)
Average TV Show review score: 68
Highest review score: 100 The Americans: Season 3
Lowest review score: 0 Dads: Season 1
Score distribution:
  1. Mixed: 0 out of 287
  2. Negative: 0 out of 287
287 tv reviews
  1. The season risks feeling like an epilogue to season two and a prologue to season four, but as both a sequel and a prequel Sherlock’s third season ultimately makes the series’ world richer, and a stronger foundation for more stories to come.
  2. The show doesn’t crank out gags at the same overwhelming frequency as 30 Rock, but from its earliest moments, Kimmy Schmidt brims with a comic sensibility recognizable as Fey’s.
  3. Though it has a ways to go before reaching the upper echelon of its subgenre, The Comedians’ likable cast compensates for its familiar premise.
  4. Getting On comes back in a mode so low-key that the show feels inconsequential, setting up a season of diminishing returns. But by the third episode, things really start to click again.
  5. It’s not exactly groundbreaking, but it’s fun to watch and slightly addictive.
    • 81 Metascore
    • 80 Critic Score
    No one can backpedal his way into a ditch quite like Gervais.
    • 77 Metascore
    • 80 Critic Score
    The premise is gimmicky, but based on the promising first two episodes, Lee's infinite list of wrongdoings should provide many seasons' worth of amiable comedy.
  6. The surface bromides of meritocracy are each artist’s main talking points, but the real fun comes in smaller moments, like watching Jay Z rehearse or Joseph “Rev. Run” Simmons nervously pace around the stage, worried that not everything will go as planned.
  7. Reproduction isn’t The Spoils Of Babylon’s comic strong suit, absurdity is. Crummy special effects are cute, but the miniseries finds its voice by bursting Jonrosh’s bubble, illuminating his shortcomings as a filmmaker through mealy mouthed dialogue, incomprehensible blocking, and continuity errors.
  8. 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.
  9. Those tired of murder mysteries will find little here to pique their interest, but for fans of the genre (or Phillippe), there’s plenty to like, making for engaging, if not appointment, viewing.
  10. A To Z has the potential to be a sweet romantic comedy—if it doesn’t get caught up in its own quirks first.
  11. 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.
  12. Forte can certainly handle the darkness, the lack of contact weighing down his heavily bearded face, but his attempts to compensate for that lack of connection make for some strange turns of events.
  13. The Unauthorized Beverly Hills, 90210 Story shines, for much the same reason as the original series: Inexplicably, all this stupid crap is a lot of fun to watch.
  14. One of the greatest blues singers of all time, Smith may simply be too big for the movie to contain. Luckily, Latifah’s towering portrayal gives her the magnetic and indelible portrait she deserves.
  15. Sometimes you just have to go with American Horror Story, even if it hurts your soul to be entertained by such heedless provocation.
  16. 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.
  17. It’s an episode of television that exists at the intersection of Marvel’s superpowers-as-puberty metaphors and the half-baked cultural upheaval of True Blood—with a Whedon-esque anti-authoritarian streak thrown in for good measure. The show could devolve into a grab bag of familiar themes and tropes down the line, but its pilot does a remarkable job of synthesizing a cohesive introduction out of those disparate parts.
  18. Silverman has never been sharper or seemingly more confident as a comedian and performer, and the laughs are there--just not quite as many as might be expected.
  19. For now, though, it’s comfortable, but inessential. The performances blur together, as actors deliver lines in a competent, polite way, and everything is filmed in a hazy glow. There’s nothing wrong with any of it.
  20. Romance greases the gears on a show like this, but Grandfathered is always more interesting when it’s the premiere of a show about people navigating the unique little family unit they accidentally made.
  21. Built on a blockbuster framework, Years Of Living Dangerously comes off more like a word-of-mouth sleeper, a documentary that’ll drop science on people drawn in by the promise of Harrison Ford berating a foreign minister like he’s a Russian terrorist who’s not welcome on Air Force One.
  22. Six By Sondheim is just barely more than the sum of its parts, but when it finally adds up, it feels like many of the master’s best songs and shows: a puzzle that assembles itself right in front of your eyes.
  23. There’s smart plotting at work, and keen observational skills when it comes to showing who’s truly in power, but it takes a squishy stance on the issues at hand, a “nuclear warfare bad” perspective that makes for agreeable comedy but ineffectual satire.
  24. Rothenberg and company are sneaking in a surprisingly sophisticated look at a world filled with want.
  25. 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.
  26. 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.
  27. While it may not transcend its genre, The Missing is a strong addition to the canon.
  28. These episodes are not their finest half-hours, but they’re laying a foundation for greater things to come.

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