The A.V. Club's Scores

For 581 reviews, this publication has graded:
  • 61% higher than the average critic
  • 4% same as the average critic
  • 35% lower than the average critic
On average, this publication grades 3.3 points higher than other critics. (0-100 point scale)
Average TV Show review score: 68
Highest review score: 100 Toy Story That Time Forgot
Lowest review score: 0 The 1/2 Hour News Hour: Season 1
Score distribution:
  1. Mixed: 0 out of 385
  2. Negative: 0 out of 385
385 tv reviews
  1. The narrow perspective creates the disconcerting intimacy on which Nightingale thrives, but Lester’s strict adherence to it often feels compensatory and makes the film come across more like a conceptual exercise than a story.
  2. The second season is as lovely to watch as the first, but it smartly dampens Bruce’s cultural tone deafness and expands the scope of the series to focus more on Emma and her family.
  3. Pines is certainly weird, but it’s never predictable.
  4. 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.
  5. Jesse’s arrogance is tempered by a desire to do good, and there’s no better place for charity to begin than at home. But his misguided efforts ultimately set the stage for the first of many showdowns, a fact that, if he acknowledged it, might actually make him sympathize with his maker. All of these choices, when combined with the sumptuous visuals, make for a successful adaptation, though they will probably be criticized by longtime fans for making the material more palatable or too accessible.
  6. 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.
  7. Madam Secretary is not perfect, but it could be. There are seeds of something excellent in this pilot, one that’s able to tell a character-driven story in a world that’s constantly changing.
  8. Ultimately it’s that frisson of complication that makes Manhattan worth watching--the performances are good, the writing is good, and the premise is good, but the complication of our own history is involving and fantastic.
  9. There are portions of the 10-episode first season that are darker than any other American broadcast-network comedy, but not shying away from the inherent gravity of Bruce and Emma’s situation provides a rich shading to the stranger-in-a-strange-land laughs.
  10. At least in its first two episodes, Wayward Pines looks prepared to think more about what happens to its characters once the shock of that discovery has sunk in.
  11. Boardwalk Empire took a more layered view of the Prohibition ’20s, whereas Vinyl’s main takeaway is that everything used to be cooler, sexier, and more fun. That message will resonate for some, and strike others as a sermon about the redemptive power of rock delivered directly to the choir.
  12. After briefly getting lost in its complicated web of storytelling, the show slows down and puts it focus back on its characters. And though they might repeat themselves, Orphan Black feels as fres
  13. The viewer’s feelings toward Christine and her behavior are likely to remain unresolved--but Kerrigan and Seimetz’s refusal to psychologically and morally pin her down is exactly what makes The Girlfriend Experience, in its pungently moody and disturbing way, ultimately difficult to shake off.
  14. There’s enough depth and complication in the performances alone to buoy the six-episode run, and given the intensity of the criminal specifics, the slow burn feels more like a feature than a bug.
  15. At its best--which it is more often than not--The New Yorker Presents is a continuation of that legacy, not just an extension of the brand.
  16. A well-acted romp that carries just enough weight to justify tuning in, The Musketeers is a campy delight; no one ever hands over a blade when tossing one with a flourish will do, and this time, that’s just as it should be.
  17. There’s still a little roughness around the edges of the series.... Nevertheless, Maron operates on its own frequency and works within its own rhythms.
  18. There’s something lighthearted about the proceedings, murder and mayhem aside, because the show is more interested in the character drama than the procedure. Taxi Brooklyn embraces the New York-ness of both its main characters, and that bodes well for its future--and provides something fascinating to watch through the summer, in the meantime.
  19. It seems like they’re trying to build a little universe of their own, on the shoulders of the most notable sketch shows of the past. It’s a show worthy of attention for that reason alone, and doubly so because it’s often funny as hell.
  20. Fresh Off The Boat may not be the take-no-prisoners depiction of Asian-American life that Huang originally envisioned, but it still provides a perspective long overdue on television in a way that’s at once smart, sweet, and funny--a far cry from “Panda Express.”
  21. As was always the case with Heroes, there’s a little bit too much going on at any one time--a few too many characters, powers, and storylines to keep track of. But that’s a small quibble with a story and vibe that’s this strong so far.
  22. The many tones should produce whiplash, but the series works because it’s always able to go back to its central idea of a lower-level government employee living in a sleepy small town and getting wrapped up in something bigger than he would ever have anticipated.
  23. The season-four miniseries never exceeds the brazen hilarity of previous seasons, but it continues apace, and for a show so full of intense action, keen performances, and self-aware humor, that’s plenty.
  24. Beyond its thin premise, Weird Loners fares best when it digs deeper, having Stosh help Caryn out with an older relative, or exploring the childhood history between Stosh and Eric.
  25. In the first two episodes, Humans looks like a promising excursion into familiar territory, and one that plays well on several levels. It’s a domestic drama, a sci-fi thriller, and a meditation on alienation, all wrapped up in one sleek package.
  26. It’s too soon to say Atlantis has a great destiny, but the signs are promising.
  27. A political satire built on such a wacky conceit, it practically demands to be mocked. And yet the show is clever, brisk, and compelling, and it succeeds not by dancing around its inherent weirdness, but by zealously embracing it.
  28. If Last Week Tonight With John Oliver can keep shedding humorous light on international affairs and other stories that fall through the cable-news cracks, this show might make it to eight weeks and beyond.
  29. It’s not perfect, but it’s never boring.
  30. If formalizing Jimmy and Gretchen’s relationship has narrowed the show’s narrative possibilities, it doesn’t show from the first two episodes, which are as nonchalantly winning as anything in the first season.

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