Carol Midgley

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For 103 reviews, this critic has graded:
  • 37% higher than the average critic
  • 12% same as the average critic
  • 51% lower than the average critic
On average, this critic grades 1.3 points higher than other critics. (0-100 point scale)

Carol Midgley's Scores

Average review score: 70
Highest review score: 100 The Crown: Season 4
Lowest review score: 40 Avenue 5: Season 1
Score distribution:
  1. Positive: 59 out of 103
  2. Negative: 0 out of 103
103 tv reviews
    • tbd Metascore
    • 60 Carol Midgley
    The writers Harry and Jack Williams can be wilfully abstruse, here giving us the old split timeline device, which feels too much like hard work. ... Luckily, Shaw's performance was pitch-perfect and Karyo has that same stillness and weighty presence that holds any scene.
    • 52 Metascore
    • 40 Carol Midgley
    It is as if two different dramas have been melded accidentally. Or if Death in Paradise (which Miller used to star in) had decided to show a full-on chainsaw massacre. Miller's acting skills save it, assisted by Emma Naomi (Bridgerton) as his detective sidekick, Lisa Donckers.
    • 63 Metascore
    • 80 Carol Midgley
    Ghislaine Maxwell was brought up by a monstrous, rich, powerful man, so the terrible things that monstrous, rich, powerful men do were normal to her. For anyone seeking a theory for her alleged collusion with the foul crimes of Jeffrey Epstein, Ghislaine Maxwell: Epstein's Shadow packaged this one persuasively.
    • tbd Metascore
    • 60 Carol Midgley
    If they had cut Meg's excesses by half she would have been twice as convincing. Nonetheless, the rest of the episode was as uncomfortably delicious as ever.
    • 65 Metascore
    • 40 Carol Midgley
    It was the kind of show when Corden asked safe, dull, teen magazine questions such as: "Were Ross and Rachel on a break?". It was better when the cast were allowed to wander round the set alone but there was never any danger of a major revelation.
    • 61 Metascore
    • 60 Carol Midgley
    This series has a serious public interest helping people with mental illness and it is indisputable that Harry will help to destigmatise it by speaking honestly and, yes, eloquently about his own. ... For all its clarity of vision and talk of a "universal condition", however, The Me You Can't See feels myopic on the burning issue that many, indeed most, people cannot afford years of therapy.
    • 83 Metascore
    • 80 Carol Midgley
    A fresh, cheerful, unexpected triumph. It helps that it is sharply written and pretty fearless.
    • 80 Metascore
    • 80 Carol Midgley
    Mitford purists may take issue with Mortimer's contemporary touches and some might say it is often too mannered and arch, making the characters superficial. But The Pursuit of Love is glorious Sunday evening fayre and, in following Mitford's lead in "avoiding earnestness at all costs", Mortimer has definitely succeeded.
    • 85 Metascore
    • 100 Carol Midgley
    This was a profound, hefty psychological tug of war adapted skilfully from the novel by Natalie Daniels (Salaman's pen name), with some of the best writing and performances I have seen this year.
    • 73 Metascore
    • 60 Carol Midgley
    The Drowning is one of those daft-as-a-brush thrillers where six impossible things happen before breakfast, but, like Alice in Wonderland, you either buy into it and buckle in for the ride or bail out and watch something more credible instead.
    • 57 Metascore
    • 60 Carol Midgley
    It is a heavy drama with lean dialogue and precious little mirth, but I'm being seduced.
    • 82 Metascore
    • 80 Carol Midgley
    Brad Inglesby's drama is tight, clever and non-cliched in its dialogue and the cast is strong, but there are some well-worn tropes.
    • tbd Metascore
    • 60 Carol Midgley
    Some lines fell flat and to enjoy this show you have to have a high tolerance for slapstick. ... It's early days and the laughs may not sustain a whole series, but it looks promising.
    • 67 Metascore
    • 60 Carol Midgley
    Occasionally the film, with its buzzy vibe, felt as superficial as the industry it was sending up. Yet it was entertaining.
    • 86 Metascore
    • 40 Carol Midgley
    By the show's towering standards it felt underwhelming. Steve Arnott (Martin Compston), bored and in the doldrums at AC-12 dealing with sick leave grunt work, seemed a human metaphor.
    • 75 Metascore
    • 60 Carol Midgley
    The problem with this series, compellingly presented though it was, with Farrow’s son Ronan giving damning evidence against his former quasi “stepfather” and a family friend saying she saw Allen applying sunscreen to Dylan’s buttocks in an inappropriate way, is that it was totally one-sided.
    • 92 Metascore
    • 100 Carol Midgley
    So lavish was the buffet of revelations that if you zoned out for a second you risked missing a juicy nugget. ... It was napalm.
    • 84 Metascore
    • 80 Carol Midgley
    The sight of Nicola Walker's soulful bloodhound eyes as DCI Cassie Stuart, our PTSD suffering detective, triggers a warm sense of familiarity and "getting back to normal" after months of Covid necessitated repeats and cobbled together TV schedules. With Chris Lang's creation we are on a promise: quality dialogue, quality misery.
    • 77 Metascore
    • 60 Carol Midgley
    OK, it's not Line of Duty, nowhere near, but it gets extra oomph from Lorcan Cranitch, who put in some excellent swearing as the police-boss-with-something-to-hide, and Charlene McKenna as Tom's sidekick.
    • 85 Metascore
    • 80 Carol Midgley
    Mitchell and Webb being reunited is exactly the comfort food that television needs right now. Although Mitchell is ubiquitous on TV and radio, together they have a yin-and-yang alchemy that is as soothing as Sudocrem on a bottom rash, even if it is inevitable that one keeps comparing Back to Peep Show.
    • 47 Metascore
    • 40 Carol Midgley
    Well-shot but so-far charmless City soap opera.
    • 75 Metascore
    • 80 Carol Midgley
    The way Emma fondly mocked her brother promised that this will be the relationship of the series. It's also a relief that it is shot beautifully, in Calabria, Monterrey and New Orleans; places we won't be visiting for a while. The cast is terrific, with Adriano Chiaramida as an elderly don and Giuseppe De Domenico as his strutty grandson.
    • 70 Metascore
    • 60 Carol Midgley
    It's a nice send-up of various genres, based on the Dark Horse comic books. However, it feels too slight to warrant hour-long episodes and would perhaps be snappier in half-hour bites.
    • 62 Metascore
    • 40 Carol Midgley
    Watching the first two-and-a-half hours was a bit like being in a drug-addled dream anyway: coherent in some places, baffling in others — weird timelines, plot strings as clear as mud and the production seeming perfectly content with that. The acting, though, is good. Commendable given that the actors are carrying the handicap of a complex novel confusingly boiled down to six episodes.
    • tbd Metascore
    • 60 Carol Midgley
    The judge Keith Brymer Jones wept over the cheese sets and port chalices, while throwing the crap ones in a bucket. The contestants also wept. It's a wonder their clay ever dried out.
    • 60 Metascore
    • 60 Carol Midgley
    It's a fruity cocktail of all the things we're missing: sun, sea, sand and frivolity.
    • tbd Metascore
    • 100 Carol Midgley
    It was stunning though, wasn't it? The flamingo migration scenes alone were a work of art; shown from above they looked like the whirl on top of a latte. Quite magnificent. Breathtaking also were the vampire finches that seemed to have conned boobies into believing that when they suck their blood they are doing them a favour.
    • 61 Metascore
    • 60 Carol Midgley
    Even for a show powered by self-mockery and faux grandiosity (although it does often feel a smidgeon smug given how talented they both are) it was a clever move to have Palin telling them that Staged was basically crap.
    • 66 Metascore
    • 80 Carol Midgley
    The script, by Amanda Coe (The Trial of Christine Keeler), was mostly high quality, taut, lean and restrained.
    • 74 Metascore
    • 80 Carol Midgley
    Obviously, this is a comedy so let's hope people keep a sense of humour and don't start drearily demanding that the audience should be warned that there may be historical inaccuracies as they did with The Crown. It's light-hearted and funny and right now that's no bad thing.

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