TV Guide Magazine's Scores

For 1,047 reviews, this publication has graded:
  • 48% higher than the average critic
  • 3% same as the average critic
  • 49% lower than the average critic
On average, this publication grades 2.3 points lower than other critics. (0-100 point scale)
Average TV Show review score: 63
Highest review score: 100 Veep: Season 3
Lowest review score: 0 Work It : Season 1
Score distribution:
  1. Mixed: 0 out of 593
  2. Negative: 0 out of 593
593 tv reviews
  1. Skepticism turns to pleasure as Greg reveals himself to be a wide-eyed charmer (think a less smarmy Greg Kinnear) and Sweden becomes an unexpectedly welcome and disarming diversion in a summer cluttered with noisy mediocrity.
  2. Even if they're barely keeping hope alive through mordant laughter, Mom is oddly uplifting in its portrayal of scrappy survival against the economic odds.
  3. Exacerbating the estrangement is the presence of Sherlock's abrasive and mysterious new protégée from across the pond, Kitty (the vividly spunky Ophelia Lovibond), whose first encounter with Watson is promising only if baton-wielding catfights are your idea of a good time. Their slow, tentative bonding over the next few episodes is one of the most intriguing elements of Elementary's unusual and potentially risky new direction.
  4. Torchwood, a cheeky and often startlingly adult spin-off.
  5. Every frame of this beautifully filmed living-ghost fable is suffused with mystery and the alluring dread of the unknown. There are very few hard scares in the story, more like sustained and hypnotic tingle of unease. [26 Oct - 8 Nov 2015, p.15]
    • TV Guide Magazine
  6. With relative rookies Jeremy Sisto and Anthony Anderson solving the crimes and scrappy Linus Roache leading the prosecution (with Alana de la Garza) and butting heads with his boss, Law & Order rarely feels like a show entering its 19th season.
  7. A funny/sad Office-style mockumentary depicting a year in the life of an Australian public high school, this wildly talented writer-star loves making you squirm (à la Gervais) while submerging himself inside the skin of characters so diverse (à la Ullman) you can hardly believe it's the same guy.
  8. There are times when you don’t whether to scream with fear or laughter. Being Human is frighteningly good.
  9. Watching Nick (Peter Krause), family lawyer and honorary Darling, struggle to preserve his soul while fixing the family's messes is such fun you can almost forget the show's such a gaudy anachronism.
  10. It's too early yet to know if the writing can avoid the pitfalls of the "Who Killed Rosie Larsen?" story, but this is off to a promising start.
  11. House is already shopping for a new mate. The situation is comic yet dramatic, as House is almost dangerously distracted from his medical-sleuth work. Some powerful stuff, but many of us are even more impatient for House to reunite his old team (the marginalized Cameron and Chase). The newbies just aren’t cutting it.
  12. The pilot is enjoyable, but it's hard to know where it's heading.
  13. Effective as a thriller until its predictably over-the-top climax, Thirteen is even better as a character study of an emotionally fragile, needy and enigmatic young woman trying to regain her sense of self as she tests all of the relationships in her new world. [20-26 Jun 2016, p.17]
    • TV Guide Magazine
  14. The pilot is such a mixed bag it's hard to predict. Often very entertaining as it piles on the mysteries and cliffhanger climaxes, it's also hopelessly and almost comically convoluted, presenting scenes with a "23 minutes earlier" or "13 months earlier" or "11 days earlier" tag with such frequency you end up barely knowing, let alone caring, when and where you are at any given time.
  15. Comedy isn't pretty, but in the Short run, it can be painfully hilarious, even when it feels like Gervais is retreading some awfully familiar material here.
  16. Work of Art itself manages to elevate this often schlocky genre into an entertaining celebration of the process of creation, with some startling and visionary (and occasionally disturbing) pieces produced under intense pressure.
  17. What Mob City may lack in originality it compensates for in atmosphere and sharp characterizations.
  18. It's a little cheesy, but never takes itself very seriously.
  19. Silverman performs her proudly raunchy set before an intimate 39-seat audience, which is only fitting for someone who is so defiantly in-your-face.
  20. There is nothing heightened or cheapened by contrivance as the detectives and patrol cops go about their often sordid business.
  21. The unsettling juxtaposition of Yankees fever with Son of Sam's reign of terror is intriguing, but could have used a stronger authorial voice to tie it together.... Still, even non-Yankees fans should enjoy this one.
  22. This remake achieves an Avengers-like balance of cheeky wit amid the cheesiness.
    • TV Guide Magazine
  23. Even when the show gets a bit silly, there's a healthy sense of wonder at the origin of the artifacts our heroes regularly track down.
  24. Jack's "surrounded by idiots" misanthropy and drill-sergeant parenting threatens to wear thin, but Meloni sells it with an underlying intelligence and empathetic warmth.
  25. The twists are solid, if never as electrifying as on Showtime's Homeland, while George clearly learned her lessons well at the feet of Sydney Bristow.
  26. Bent is the sort of funky offbeat comedy that grows on you, so watching more than one episode at a sitting turns out to be a good thing.
  27. Dexter's scenes with Vogel and Deb are so electrifying and morbidly juicy that the subplots involving Dexter's co-workers in Miami Metro Homicide seem more than ever like dreary padding.
  28. [A] compellingly extreme thriller. [5-18 Sep 2016, p.23]
    • TV Guide Magazine
  29. His easy camaraderie with these women [in prison] forms the core of the film, HBO's eighth collaboration with filmmaker Alexandra Pelosi, and their mutual affection and hope for a better future is genuinely inspiring.
  30. Sarah isn't easy to warm up to, and neither is The Killing, though I respect its moody insistence at depicting even the most sympathetic figures in the worst possible light.

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