The A.V. Club's Scores

For 283 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 2.3 points higher than other critics. (0-100 point scale)
Average TV Show review score: 67
Highest review score: 100 Orange is the New Black: Season 2
Lowest review score: 0 The 1/2 Hour News Hour: Season 1
Score distribution:
  1. Mixed: 0 out of 176
  2. Negative: 0 out of 176
176 tv reviews
  1. This isn’t just a story, it’s a history, and admirably, the work of the players has brought it to life.
  2. The mood develops exquisitely from the first frame.
  3. Hannibal has always been beautiful, and that’s still the case. It’s also always featured dialogue and plots that stay just on the right side of being too pretentious, and that remains the case. If there are any notable steps up from season one, it’s both in the tension that mounts thanks to the great game played between Will and Hannibal and in the better use of the show’s supporting cast.
  4. Louie season four is as good as ever, and sometimes it’s slightly different.
  5. Everybody inside and outside of Litchfield’s walls matters. That shouldn’t feel revolutionary. That it does speaks both to how essential this show is and how much most other TV shows will have to do to catch up to it.
  6. None of this would work without compelling characters. Fortunately, The Leftovers has bunches of them.
  7. With Masters and Johnson occupying a space in between love, work, and friendship, the heart of the Masters feels like it is finally beating; the joy of the show is watching the two of them interact with each other, and Lizzy Caplan and Michael Sheen have thrown themselves wholeheartedly into their roles. Ashford and her team have also become more confident with pacing and plotting.
  8. Outlander succeeds admirably, and partly that’s because it follows the bent of both of its creators: It refuses to sit comfortably in any genre.
    • 89 Metascore
    • 100 Critic Score
    Beyond anything else, the main reason to tune into MasterChef Junior is to watch talented people do amazing things, regardless of age.
    • 89 Metascore
    • 100 Critic Score
    There are many things that Olive Kitteridge gets right, but none so significant as how brilliantly it simultaneously captures the deep, pervasive stillness and the close, suffocating entanglement of small-town living.
  9. Toy Story That Time Forgot attests to the strengths of this fictional universe by relying on its deep bench of supporting players.... Schaal’s capacity for wonder enlivens a plot that harkens back to the first Toy Story.
  10. Veep has become the clearest heir to 30 Rock and Arrested Development, and specific bits throughout the season recall both series.
  11. It’s not that Portlandia has lost its sharp comic edge; rather, it has added a complementary sweetness that is somehow just as funny.
  12. From episode three on, [Sheen] begins to give one of the most fascinating performances on TV.
  13. Sleepy Hollow works because it approaches everything with a relatively straight face, yet never seems to be taking itself too seriously.
  14. Burton And Taylor is not comprehensive or perfect as a film--the direction in particular is lackluster--but as a character study in both writing and acting it is, as Burton says of Taylor herself, “peerless.”
  15. While the narrow view of the tragedy means a limit to the movie’s broader appeal, it’s intensely refreshing to see a story like this told without any need to soften or commercialize its ideas.
  16. The docudrama is at its most powerful in its second half, as the focus shifts more toward David Bradley as William Hartnell.
  17. The show’s beauty is not in big moments, or exquisitely written scenes (though it has both), it comes in the pauses between, the semicolons and commas that make up the bulk of many lives, but which TV has trouble giving full heft.
  18. If the second episode can build even more on the insanity of the first, then Rick And Morty has the potential to be a versatile, entertaining comedy.
  19. If this strong start is anything to go by, the show is going to produce an interesting, challenging, and hilarious batch of episodes for its fifth season. That’s reason enough to rejoice for now.
  20. For the most part, Lannan and Haigh have crafted something that’s bittersweet and funny and surprisingly quiet, willing to simply let the characters hang out and try to figure out what the rest of their lives are going to be like.
  21. Broad City presents a recognizable, recognizably hilarious perspective on what trying-but-failing looks like from the inside.
  22. Legit walks the tightrope between the dark and the heartfelt as well as anything on TV.
  23. Fitting for a star whose improvised podcast appearances frequently turn down dark alleyways, Review really gets going when it digs deep into horrible behavior.
  24. Orphan Black is better than almost any show on TV at feeling like it’s constantly building toward something, no matter how perilous and rickety its structure becomes.
  25. When Inside Amy Schumer commits fully to that work, it’s television unlike almost anything else on the air today.
  26. Game Of Thrones has not moved away from “sexposition,” prostitution, and casual rape as titillating plot points, and that will always tarnish what is otherwise a groundbreaking show. But the good outweighs the bad. Game Of Thrones was and is an astonishing achievement.
  27. Penny Dreadful is a surprising show, one that offers both some putrid rotting at the core of London’s soul and a way of going about excavating humanity’s inherent darkness in a different and unexpected way. That is easily worth a penny, and maybe more.
  28. It’s a quiet, deliberate show, but it contains multitudes and a willingness to go for broke with religious symbolism or Southern gothic overtones, right smack dab in the middle of stories about normal people going about their lives.

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