TV Guide's Scores

For 831 reviews, this publication has graded:
  • 49% higher than the average critic
  • 3% same as the average critic
  • 48% lower than the average critic
On average, this publication grades 3 points lower than other critics. (0-100 point scale)
Average TV Show review score: 61
Highest review score: 100 Treme: Season 2
Lowest review score: 0 Rob: Season 1
Score distribution:
  1. Mixed: 0 out of 466
  2. Negative: 0 out of 466
466 tv reviews
  1. Some of the situations they encounter on the dating and relationship circuit are promisingly wacky, but the tortured jokes lean way too heavily on pop-culture references.
  2. It may be just ordinary enough to work.
  3. Having peaked a few seasons back in the amazing John Lithgow season, Showtime's hit Dexter at least seems to be enjoying itself as year six kicks off.
  4. Though the stories provide plenty of jolts, Bedlam becomes less scary with repetition during its six-episode duration, because we can see these persistent ghouls all too easily.
  5. I wish I were as invested in Amy's journey as she is, but as she blathers on about being an agent of change at her uncaring corporation, I find myself restless to change the channel to something that's actually entertaining or, yes, enlightening.
  6. A more conventionally crass buddy comedy about a Jersey whale-out-of-water (voiced by Book of Mormon star Josh Gad) who moves to the California beachfront with his buxom mom (Debi Mazar),
  7. If only Grimm didn't also feel like we've seen it before, only executed with more verve and humor back in the glory days of Buffy and Angel.
  8. The action and whimsy help compensate for an overall flatness in the rest of the ensemble casting and low-budget production.
  9. The mysteries of the mythology--Where were they for the last half-century? Who's pulling their violent strings?--are more compelling than the plodding mechanics of the weekly manhunt.
  10. With overripe dialogue that sounds like Shakespeare ground through a blender of baroque profanity, punctuated by action sequences of almost comical brutality amid orgies of debauchery, Spartacus is back with a vengeance.
  11. Their [Matthew Perry and Laura Benanti's] wary cat-and-mouse game doesn't exactly break new comic ground, but it temporarily lifts Go On from its jarring tonal shifts between mockery and mawkishness.
  12. This posh address, which could yet become catnip for occultists, looks to be for amateurs only.
  13. This is a family that could use some ruffling, with precious little chemistry between the series leads.
  14. The hour-long pilot of Mockingbird Lane [is] a monster mash of a hot mess.
  15. [Graceland] is barely distinguishable from USA Network's long roster of crime capers featuring pretty people in gorgeous settings.
  16. Even if all of their naughty bits weren't pixilated--it's still a bonanza for backside gazing, just saying--they soon become so grimy, gaunt and downright miserable as they starve and shiver for days on end that it's all about as arousing as a labor camp death march.
  17. Sun aspires to the breadth if not the depth of The Wire. But it's so self-conscious in its existential misery, lacking the leavening humor and humanity of a modern classic like Breaking Bad, that it often feels more punishing than provocative.
  18. [A] lavishly entertaining but hopelessly convoluted new supernatural thriller.
  19. So far so generic, and I'll decide later once my ears stop ringing.
  20. The result is a mostly wan workplace sitcom hamstrung by the premise of yoking Williams to a wet-blanket daughter as business partner (Sarah Michelle Gellar, not exactly in her element). The co-star who really pops is James Wolk.
  21. As Stuart, the lovelorn web-designer hero of this sad-sack comedy vehicle, [Stephen Merchant] often tries one's patience, feeling more like an overexposed supporting player incapable of elevating the initial one-joke premise.
  22. When the music stopped, the sound of Underwood was underwhelming: drab, devoid of energy or passion, creating a vapid hole at the center of a charming and diverting production. Her chemistry with a similarly stiff Stephen Moyer, as an awkwardly gaunt Capt. Von Trapp, felt like wilted edelweiss.
  23. This is Texas, y'all. And you may very well feel like you've been to this rodeo before.
  24. Some of the stylistic touches are amusing, including a bombastic theme song belted by Steve Lawrence, but the strain shows as Babylon's sketchy premise is elongated to miniseries length.
  25. Never as heightened or melodramatic as Queer as Folk (British and Showtime versions), Looking also isn't terribly distinctive and is only sporadically engaging.
  26. Rake's uneven tone (which makes Ally McBeal seem grounded in reality) left me numb.
  27. Black Sails opens promisingly enough with a sea battle, followed by threats of violent upheaval aboard the Walrus, captained by the arrogant, aloof Flint (Toby Stephens). Too soon, though, the action moves onto land. And while Starz staples like graphic sex and savagery are hardly uncommon occurrences in the bustling debauchery of New Providence Island, Sails becomes stubbornly becalmed by its landlocked third and fourth hours, as tiresome wheeling and dealing triggers a bout of Restless Sea Legs Syndrome in the impatient viewer.
  28. While sporadically and quietly amusing, the entire enterprise has the whiff of an in-joke vanity production.
  29. [A] stubbornly bland potboiler.
  30. Atmospheric and overheated, it's often as lurid and messy as American Horror Story and almost as indulgent and incoherent, with characters from Dracula, Frankenstein, The Picture of Dorian Gray and assorted other legends of yore intersecting in an occultist brew.

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