The A.V. Club's Scores

For 247 reviews, this publication has graded:
  • 53% higher than the average critic
  • 3% same as the average critic
  • 44% lower than the average critic
On average, this publication grades 1.2 points higher than other critics. (0-100 point scale)
Average TV Show review score: 66
Highest review score: 100 Masters of Sex: Season 2
Lowest review score: 0 Stalker: Season 1
Score distribution:
  1. Mixed: 0 out of 147
  2. Negative: 0 out of 147
147 tv reviews
  1. The depictions of Romney and his clan are honest and intimate, sure, but honesty and intimacy don’t necessarily produce insight, and Mitt’s mistake is to assume that they do.
  2. Fallon fits into that dichotomy as a sort of older brother who’d really like to get everybody together just this once, because it would make mom and dad happy. There’s a way to make that work within the more stringent requirements of The Tonight Show, but Fallon hasn’t found it just yet.
  3. The world has so many series about dark humans doing dark things that it becomes all the more difficult to stand out, and Those Who Kill is so generic it doesn’t even seem interested in trying.
  4. Segments like “Slide Show” and “A Bunch Of Jerks” (in which performers are attached to harnesses and yanked into the air whenever they break the rules of the game) bring some visual engagement to short-form improv. But the rest of the premiere throws up barriers to engagement, moving too quickly or too confusingly to make the viewer feel like they’re in on the roast McManus is emceeing.
  5. Bakula is a strong anchor for a series like this one, and the supporting cast is likable and engaged.... However, based on the framework laid out by producers, NCIS: New Orleans is primarily concerned with continuing the franchise, at the expense of telling stories of the lived realities of its primary setting.
  6. Gang Related ultimately confuses being grim with being sophisticated, and it too rarely stops to think about what it’s trying to say beyond, “Man, being a dirty cop sure would be tough!”
  7. The show is worth watching once to sample what Malkovich is up to, but it ultimately suffers from not following his performance to its logical conclusion and making the whole series a completely bonkers Blackbeard experience.
  8. Overall, the pilot stalls with the usual introductions, setup, and by-the-numbers twists. There’s a dogged sense of purpose behind it that could, if thoughtfully explored, become a low-budget thriller for a network that’s taking some steps into a brave new world, but there’s an awful lot hanging on that “thoughtfully.”
  9. NBC is always in search of a dependable hit, and the evidence shows that The Mysteries Of Laura is exactly the right kind of bland whose dependable ratings could help it fly under the radar for years.
  10. Alpha House hits a few notes of inspired satire--like the bowl of American flag lapel pins the senators keep on the kitchen counter--but Trudeau’s been more biting and much funnier elsewhere, past TV efforts like Tanner ’88 and the malaise-infected Doonesbury Special included.
  11. It’s always possible that Intelligence might warm to its subject, giving Holloway more to do than look morose and occasionally quip. As it stands now, though, Intelligence is a title that serves as a punchline.
  12. If Ironside becomes a serialized fantasy drama exploring the mystery behind the fountain of youth, which Underwood must have discovered, then it will definitely be worth watching. Otherwise, it’s eminently skippable.
  13. Witches Of East End has the curious distinction of feeling at once underpopulated and way, way too busy.
  14. The only times Dancing On The Edge doesn’t move like molasses are during the brief moments of excitement or pleasure.
  15. There’s no real attempt at authenticity or immediacy, but the clarity of simple A to B to C storytelling offers some satisfaction. On the whole, it’s an unengaged affair.
  16. Ja’mie is so drawn-out and lifeless that the mind wanders, wondering if there might be something ugly about the popularity of this character.
  17. Spinning off an established show in order to up the chances of that happening is a fine impulse, but this Chicago Fire offshoot is not quite up to the task of creating something indelible just yet.
  18. Despite a handful of cutting moments, Chozen isn’t very funny in its first five episodes--though as the man says, it gets better. Part of that is the inundation. If everything is outrageous, it doesn’t take long to adjust until nothing is.
  19. For a show so bent on shock value, it has to this point failed to surprise much.
  20. Thanks to Fagerbakke and fellow supporting player Lance Lim—who provides Eli Baker’s awkward Henry with a smooth-operating sidekick—there’s a lot to laugh at on the fringes of Growing Up Fisher. If only the brood at the middle of this family comedy were as sharply defined.
  21. Mixology has a big enough ensemble that it can present the dating game from multiple angles, but almost all of the angles it picks are stale and predictable.
  22. The backwoods intrigue and the grave mood are achieved not through grounding details and eccentricity, but by portent. Some scenes are such slow, ambiguous dialogues that they recall the heyday of Audrina and Justin Bobby.
  23. It smells like something that’s been tested in focus groups to within an inch of its life.
  24. The premise is ambitious and messily executed, as several contestants and judges are introduced without any clear metric of accomplishment or difference between the two.
  25. Questionable taste aside, there are major narrative issues at work in Faking It that go beyond sustaining the faux relationship between Amy and Karma. Tonally, it can never decide to satirize the type of über-tolerance on display at Hester High—as 21 Jump Street did—or hold it in high esteem.
  26. The new Rosemary’s Baby is, at best, a glossy, flat reminder that there are better versions of this story readily available. At worst, it’s just flat.
  27. This impulse for larger-than-life storytelling does mean that The World Wars is terminally superficial.
  28. It hasn’t yet realized that what was once groundbreaking is now wheezy and clichéd.
  29. As it stands now, Power spends far more time telling the audience that everything is at stake for Ghost than showing how everything he holds dear is at stake.
  30. Too often subsumed by the show’s desire to make a grand statement and its inability to realize that often gets in the way of just telling a compelling story.

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