The A.V. Club's Scores

For 282 reviews, this publication has graded:
  • 56% higher than the average critic
  • 3% same as the average critic
  • 41% 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 Black Mirror: Season 1
Lowest review score: 0 The 1/2 Hour News Hour: Season 1
Score distribution:
  1. Mixed: 0 out of 175
  2. Negative: 0 out of 175
175 tv reviews
    • 51 Metascore
    • 58 Critic Score
    There is a funny show in what is there, though, and the cast is likable enough to pull off the pilot’s broader moments. It simply needs to live in the now, decide what it wants to be, and stay true to itself.
  1. Being like a video game gives The Last Ship some nifty visual aesthetics and some good forward momentum, but it can’t give the series characters or storytelling worth giving a damn about.
  2. Making Georgie and Poppy unintelligent isn’t a poor choice on its own, but Almost Royal does so much better when it lets these characters get specific about their privileged upbringing.
  3. There are ominous signs of an oncoming crisis, and it’s possible that, once that crisis finally arrives, the show might shed its more tedious elements and become something worth watching. As of now, it proves roughly the same as its literary equivalent: a few cool ideas, and a whole lot of dross.
  4. Matador has the potential to be really fun, once the place-setting of the first episode is out of the way. But the show won’t unlock that potential unless it fully buys into how ridiculous it can truly be.
  5. Despite its strong cast and potentially interesting premise, Forever fails to distinguish itself among a network landscape littered with quasi-serialized crime procedurals.
  6. Bad Judge is fine, but it’s unlikely that it’ll get the chance to be something good.
  7. Gracepoint is not a poorly made television show: There’s attractive cinematography and solid acting throughout. But the energy levels are off, as though those involved were all waiting for someone else to step up and pull the whole production out of a stupor.
  8. Even with its inventive setting and all-star cast, there’s not enough reason to stick with BoJack Horseman through the first six episodes.
    • 48 Metascore
    • 58 Critic Score
    Marco Polo doesn’t stack up to the political maneuverings and bloody battles within the Seven Kingdoms, and so often resembles George R.R. Martin fan-fiction, it seems wiser to revisit the superior show.
  9. Sentiment- and story-wise, How Murray Saved Christmas is all over the place, but its joke-telling abilities live up to the shiniest lines on its creators’ resumes.
    • 39 Metascore
    • 50 Critic Score
    Surface can be creepy fun, but the obvious debt it owes to the oeuvre of Steven Spielberg--from the hidden beasts and government stonewalling to the suburban angst and working-mom pluckiness--makes the rest of the show feel blandly familiar.
    • 55 Metascore
    • 50 Critic Score
    Boreanaz and Deschanel have nice chemistry... but the script also tends to undermine its brighter moments with dialogue that repeats the exposition and the characters' defining traits over and over again.
  10. The episode has the propulsive pace of a CBS hour-long, but that can leave the fun parts of a single-camera sitcom (like the jokes) behind in its dust. Above all, The Crazy Ones is safe.
  11. Spader is fun to watch in a shallow, ornamental way, but he’d be worth caring about if there were some limits to his character’s abilities. Instead, he’s not just brilliant, but also practically unbound by the laws of time and space.
  12. There’s an itchy feeling of familiarity to Back In The Game.
  13. Though Bernthal, Ventimiglia, and Davalos all look their parts, there’s little thought to their characters beyond “detective” and “mobster” and “femme fatale.”
  14. This is one that is built so thoroughly around a personality that it seems like someone forgot to fill the actual show in around the edges of that personality.
  15. There’s enough spooky and goofy stuff going on here to placate the Pretty Little Liars faithful, but it seems unlikely to win any new converts.
  16. It’s possible that The Mindy Project will settle down a bit once it’s done reversing the course of season one’s cliffhanger, but the flaws of the first two episodes are so similar to those of season one that it’s hard to imagine some sort of remarkable turnaround.
  17. Those seeking entertainment would be better off watching the movie, which will give them a rousing American story in half the time.
  18. The presentation of mythology and backstory, such an important aspect of a show like Bitten, is handled in a laughably inelegant way.
  19. Fleming’s problem is not the story it tells, but the details it chooses to enhance.
  20. Black Sails is a handsome illusion at times, but it rarely finds its way beyond that.
  21. It’s just a period horror story starring Wednesday Addams as the high-strung monster from the playground jumping-rope rhyme, with costumes and furnishings (and a general lack of extras) that suggest a high-school play.
  22. The playfulness associated with these familial moments is where Wahlburgers hits its sweet spot.... The show is derailed by subplots that have no momentum or little drama.
  23. 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.
  24. 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.
  25. 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.
  26. 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.

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