TV Guide's Scores

For 812 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 3.1 points lower than other critics. (0-100 point scale)
Average TV Show review score: 61
Highest review score: 100 Fargo: Season 1
Lowest review score: 0 Rob: Season 1
Score distribution:
  1. Mixed: 0 out of 455
  2. Negative: 0 out of 455
455 tv reviews
  1. Mark Valley, droll and dashing, is long overdue a hit series, and I’d like to think this fast-paced piece of popcorn fluff could be the ticket. I’d watch Human Target for the retro-cool opening credits alone.
  2. There’s plenty of life in this deluxe entertainment, with each episode expanding the world of friends and family who have a stake in Lux’s future. So far, I find myself rooting for just about everyone in this feel-good show that’s refreshingly unafraid to wear its feelings openly.
  3. In its mix of the caustic and the compassionate, Jackie is as electrifying as its star.
  4. While things invariably and hilariously go wrong, Party Down’s appeal comes from the interplay of these endearingly delusional wannabes—now including Megan Mullally, replacing the irreplaceable Jane Lynch as a perky single-mom new recruit.
  5. Count me in. Nix knows you can't play the old cliches straight, so each shootout and car chase--and there's plenty of mayhem in the fast-paced pilot--is infused with an "oh, c'mon" over-the-top goofiness.
  6. Top Chef is the best-produced of TV's many cooking competitions (with Emmy nominations to attest to that fact), and the D.C. edition is already capital entertainment.
  7. Fans who feared they'd seen the last of Matt Groening's cult classic will be thrilled to see the show return in good form.
  8. This appealing and emotionally engaging series about life in a weight-loss summer camp comes with high expectations
  9. Divorced at 42, with two young daughters he dotes on, Louie is too sour and smart to be a true sad sack, but his ambling acid-laced misadventures have a raw and revealingly witty electricity, especially when he's sparring with his comedian buddies.
  10. The comic relief we have come to rely on in the macho camaraderie has more of a tinge of gallows humor this season, which isn't to say that Rescue Me feels like a show on its last legs, more like it's nearing its natural (or, given the frequency of Tommy's post-traumatic hallucinations, unnatural) end.
  11. This is one of those potboilers where the good guys (Madfadyen as a pious friar, Sewell as a master builder) are impossibly noble, suffering in a lawless time through the murderous machinations of the endlessly scheming villains (most notably McShane hamming it up as a cunningly ambitious church official).
  12. Terriers has license to entertain, and this fall, that's saying something.
  13. If I had to choose between this and watching Michael Scott take a final lap around the tired Office halls of Dunder Mifflin on NBC--its dreadful companion comedy Outsourced isn't even an option--I'm leaning toward the drop-dead-deadly assassin.
  14. This is the sort of show where "never say die" is written into the mythology--a good thing for several of the opening hour's apparent victims. I don't know how much longer The Vampire Diaries can keep churning stories at this feverish rate, but if this is your sort of guilty pleasure, you'd be crazy not to bite.
  15. It's an awfully attractive cast, and while the pilot has an often grim tone, it's enjoyable to watch and should fit comfortably into the NCIS network's schedule.
  16. I'm already sold. Plimpton is sensational as Jimmy's tough-as-nails mom, who'd just as soon drop the baby at the fire station, but we soon learn she has a way with a lullaby. Leachman is a riot, Garret Dillahunt scores as Jimmy's proudly immature dad, and special props go to the stunt babies.
  17. It's a brash, enjoyable hour that doesn't take itself very seriously, though fighting for their underdog clients is very serious business.
  18. Fringe return in fine form, with Fringe possibly taking top honors as the Show of the Night. It's that good.
  19. Bones reunites its team of squints after a 7-month break, and as is often the case, the mystery that brings them back together takes a back seat to the enjoyable interplay of these eccentric, lovable characters.
  20. Their [Courteney Cox & Jennifer Aniston's] scenes are enjoyable enough, but pale next to the wine-sodden antics of Jules' circle of friends as they play a hilarious "movie mash-up" drinking game that Jules somehow can't get the hang of. Cougar Town developed in its first season from a crude and rather desperate sex farce to a terrifically enjoyable ensemble piece that doesn't need big guest stars to zing. (Although if it brings more eyeballs to the show, all the better.)
  21. It takes a while for this season to build up some steam--by the third episode, though, we're back in full murderous swing, with some gasp-inducing twist--and things stall whenever the focus shifts to subplots involving Dexter's police co-workers. But whenever Dexter is center stage, Dexter remains one of TV's most gripping dark entertainments.
  22. This is a solid hour that feels perfectly attuned to the CBS lineup, although it's less formulaic than what you usually find on Fridays.
  23. Bear in mind that if Men were any more low-key, it might evaporate in front of you. This seriocomic slice of life is best when we're at the diner or on a hike with these superbly acted smaller-than-life not-quite-heroes (Braugher, Ray Romano and Scott Bakula).
  24. Circus is a series with an abundance of life, and reality. If you decide to run away from the regular network fare to join this company for the next few weeks, can't say I blame you.
  25. In an effort to (one hopes) broaden the show's appeal, Human Target immediately welcomes two new regular female characters, a rare example of tweaking a formula and making it even more fun to watch.
  26. The writing in Episodes, by sitcom vets David Crane (Friends, The Class) and Jeffrey Klarik (The Class), is sharp and merciless, and, except for a trite jealousy subplot, on point.
  27. Lights Out has its work cut out for it to find and hold an audience and deliver the proverbial TKO, but on the basis of the work alone, it's a triumph.
  28. Tension runs high throughout this densely layered story, which is well worth your time. Hope all the Super Bowl exposure pays off for this one.
  29. The Killing is deliberately paced, but creepily engrossing in a way that may take the audience by surprise.
  30. Well, Talking Funny is certainly addictive.

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