For 69 reviews, this critic has graded:
  • 30% higher than the average critic
  • 4% same as the average critic
  • 66% lower than the average critic
On average, this critic grades 10.4 points lower than other critics. (0-100 point scale)

Lily Moayeri's Scores

Average review score: 59
Highest review score: 95 1971: The Year That Music Changed Everything
Lowest review score: 10 Outsourced: Season 1
Score distribution:
  1. Positive: 28 out of 69
  2. Negative: 7 out of 69
69 tv reviews
    • 81 Metascore
    • 70 Lily Moayeri
    The series may be called Ramy, but the best parts of the show are its supporting characters. Finely drawn and beautifully developed, both the scripted versions and the actors who portray them are on point.
    • 65 Metascore
    • 60 Lily Moayeri
    The cast comes across as natural, even in their stereotypical roles. The dialogue is similarly fluid and representative of the kind of conversations that would happen in these circumstances.
    • 75 Metascore
    • 40 Lily Moayeri
    Welcome to Wrexham is, in a word, boring. The documentary-capturing cameras have been on from before day one and they’re capturing the dullest footage there ever was.
    • 63 Metascore
    • 90 Lily Moayeri
    Legacy starts strong and only gets stronger. It’s a multi-generational family dynasty real-life drama far more riveting than any dramatized version.
    • tbd Metascore
    • 60 Lily Moayeri
    The first few episodes of Season Three are overly saccharine. ... Thankfully, this cloying approach fades away relatively soon and Trying reverts to its winning and likeable personality.
    • 86 Metascore
    • 80 Lily Moayeri
    With a sharply-written script, nuanced direction, and deft acting, particularly on the part of Doherty, Chloe is a study in modern social dynamics and their psychological impacts as much as it is a ravishing mystery that needs to be seen through to the end.
    • tbd Metascore
    • 85 Lily Moayeri
    There are a lot of roadblocks before Sheila gets everything she is working for and none of them are rehashes of those she navigated in Season 1. This is a brand-new hell for Sheila, with enough redemptions along the way to keep you rooting for her.
    • 88 Metascore
    • 90 Lily Moayeri
    The successes on season two of Hacks are hard won by the series’ characters who maneuver around a minefield of losses. The message of perseverance and determination, however, is sent with aplomb and without a shred of “hack”-y-ness.
    • 65 Metascore
    • 60 Lily Moayeri
    It feels a little predictable, but the extreme personas of the overdrawn characters keep you locked in.
    • 63 Metascore
    • 50 Lily Moayeri
    The set-up sounds promising except the overwhelming apologetic tone that blankets every single exchange stops Ten Percent from developing any kind of edge.
    • 74 Metascore
    • 55 Lily Moayeri
    Starstruck gets off to a dull start, then becomes predictable and uninteresting. But, as the episodes progress, Matefeo rediscovers the instinctive humor that made the first season such a delight.
    • 93 Metascore
    • 80 Lily Moayeri
    Sharp and accurate, at the same time, humorous, it is this latter characteristic that allows for the messages of the series to come through loud and clear. We’re listening and cannot wait to hear what the rest of this season has to say.
    • 75 Metascore
    • 85 Lily Moayeri
    From female orgasms to women finding a career that speaks to their skills and passions to male objectification, differing viewpoints on women’s rights, misogyny, power dynamics, Minx tackles it all with a nuanced touch.
    • 75 Metascore
    • 50 Lily Moayeri
    Amanda Seyfried gamely does her best, and at times she succeeds in capturing Holmes’ mannerisms and deranged energy.
    • 63 Metascore
    • 70 Lily Moayeri
    Once you get past the initial insufferable hump at the series’ start, it becomes a guilty, addictive watch, not unlike watching self-centered wealthy people on reality shows dedicated to them.
    • 65 Metascore
    • 60 Lily Moayeri
    The fourth season of the 1950s-into-1960s period comedy The Marvelous Mrs. Maisel gets off to a shaky start.
    • 49 Metascore
    • 40 Lily Moayeri
    Granted, Dollface is a comedy, but it’s not a comedy for tweens, yet that’s how the series plays out.
    • 49 Metascore
    • 50 Lily Moayeri
    The confusion of this multi-genre series and its far-fetched ending is only justified by Bell and her imminent watchability, which works no matter who she is portraying or how shabby the material she’s working with is. ... An empty calorie binge.
    • 83 Metascore
    • 80 Lily Moayeri
    We Need to Talk About Cosby is difficult to watch, but it is absolutely necessary.
    • 76 Metascore
    • 80 Lily Moayeri
    The sensitive and relatable approach to its subject matter treats the seriousness of alcoholism and the difficulties of recovery with respect and dignity, the laughs a tonic rather than gratuitous. Recommended for all generations at the end of the alphabet.
    • 81 Metascore
    • 80 Lily Moayeri
    It weaves the stories of its eight principal characters in a way that never feels redundant or overcomplicated.
    • 55 Metascore
    • 55 Lily Moayeri
    And Just Like That… addresses these issues [death, alcoholism, racism, sexual identity] with a lot more respect bringing a deserved weightiness to the matters, which are explored over the course of the 10 episodes and not resolved in under half an hour—love. The overarching cringing “wokeness” of it all—hate.
    • tbd Metascore
    • 75 Lily Moayeri
    The themes of women’s rights and sociological progress are strong throughout this season. Contraception, that was so controversial in earlier seasons is becoming commonplace. ... Call the Midwife stays in step with its times. Only seven episodes this season is simply not enough.
    • 60 Metascore
    • 40 Lily Moayeri
    To give the second season of The Morning Show something, anything, to propel it forward, there are a variety of soapy dramas, many of them pinned to the new characters. These cobbled together histrionic dramatics are offensive compared to the gravity of the issues of the first season. Even combined, the desperate scrambles of the second season don’t have enough bite, or credibility, for the viewer to invest in.
    • 87 Metascore
    • 70 Lily Moayeri
    While the humor of Back to Life’s second season is still razor-sharp, the sinister elements and the characters’ excruciating pain override the laughs, tipping the series into highly sensitive human interactions and dangerous, heightened feelings much more so than comedy. ... Six episodes per season is simply not enough of this charming. if disturbing, series.
    • 82 Metascore
    • 70 Lily Moayeri
    You need to keep your wits about you to pick up on all the witticisms of The Other Two, and it’s worth a re-watch to pick up on all the little quips that are littered throughout the series. They’re even better the second time around.
    • 85 Metascore
    • 70 Lily Moayeri
    While the conflicts of this season are of the easy-to-resolve variety, they are problematic enough to keep viewers involved.
    • 86 Metascore
    • 80 Lily Moayeri
    Even the inclusion factor of This Way Up is natural and believable, and its management of mental health issues is respectful and personal. Six episodes feel like a lifetime with these wonderful people. At the same time, it’s not nearly enough.
    • 83 Metascore
    • 95 Lily Moayeri
    There is nothing in music that 1971 has not touched. Essential viewing.
    • 74 Metascore
    • 50 Lily Moayeri
    An entire season of no conflicts and Shrill’s series finale ends with a mess of loose ends, that makes it feel like all Annie’s and Fran’s personal accomplishments have amounted to nothing and leaves viewers with no resolution.
    • 72 Metascore
    • 80 Lily Moayeri
    At half-hour each, Cobra Kai is an easy binge that will only make you want more.
    • 77 Metascore
    • 80 Lily Moayeri
    You don’t have to be a skater, know anything about skating, or be a Zoomer to enjoy Betty. Virtually flow with the boards on Betty, absorb the scenery and let the sound of the wheels on concrete sooth you.
    • 88 Metascore
    • 80 Lily Moayeri
    A keen ear is necessary to catch all her slick comments, so many of which are razor-like in their humor. The funny factor spikes in every scene with her parole officer Janice (Jo Martin), who rivals Haggard with her natural comedic delivery and priceless lines.
    • 73 Metascore
    • 60 Lily Moayeri
    Shangri-La is not an advertisement for the studio, nor is it a biography on Rubin. It touches on the history of the space, which was built in 1976, featuring some classic footage with Scorsese and The Band, and the titular character for the television show Mr. Ed, who lived in a stable at Shangri-La when on hiatus.
    • 75 Metascore
    • 40 Lily Moayeri
    There are a few new characters that are life preservers in this murky swamp of uninteresting plots.
    • 64 Metascore
    • 60 Lily Moayeri
    "Meta" is the word used most to describe this strange take on a reboot, which in its very weirdness will have viewers—all of whom will be those that watched the original series when it aired in real-time, none of whom will be fans that aren't the ages of the actors/characters as it will make absolutely no sense to them.
    • 59 Metascore
    • 45 Lily Moayeri
    Charlotte and Jonah don't get enough screen time, which is the shame as they are the main reasons to tune into Ozark, which is otherwise not worth the commitment.
    • 59 Metascore
    • 40 Lily Moayeri
    The big, heartfelt, Dangerous Minds style lines that are geared at squeezing out tears are so cheesy, predictable, and trite, they cause eye-rolls instead.
    • 73 Metascore
    • 90 Lily Moayeri
    Nothing about this reboot is a disappointment. If you were a Will & Grace fan the first time, you're going to love it all over again. This is how comedy is done.
    • 63 Metascore
    • 50 Lily Moayeri
    With all these elements working in its favor, scale back on the titular character and give Missy and the mom some more individual airtime and you might have something worth its timeslot.
    • 57 Metascore
    • 80 Lily Moayeri
    When these murders took place in real life, they shook the world with horror and disbelief. Those feelings are reignited with the deliciously morbid quality of The Menendez Murders, literally like a slow motion retroactive murder you can't take your eyes off.
    • 62 Metascore
    • 60 Lily Moayeri
    There is enough going on in The Slap without the addition of the narration, which is reminiscent of the voice over on Pushing Daisies and sounds like it's describing a comedy. Get rid of that smug, knowing narrator, The Slap can speak for itself.
    • 52 Metascore
    • 40 Lily Moayeri
    O'Quinn doesn't have nearly the command he did on Lost, even if he is in charge. Any scenes with the gang members' families are just plain cringe-worthy.
    • 70 Metascore
    • 40 Lily Moayeri
    Overall, it took Once Upon a Time a season to fall flat; Penny Dreadful does that immediately.
    • 48 Metascore
    • 60 Lily Moayeri
    Mixology has sharp-witted lines that are genuinely funny--if at times highly sexist--rather than being gratuitous, clichés, or too-obvious puns.
    • 54 Metascore
    • 70 Lily Moayeri
    The nutty parents in Growing Up Fisher do a good job of playing their extreme characters, instinctually making their eccentricities acceptable and funny rather than far-fetched and excessive. In contrast, the Growing Up Fisher children are so grounded and adult, but play that off with a world-weary-ness that is engaging.
    • 67 Metascore
    • 70 Lily Moayeri
    With Jason Katims (Friday Night Lights, Parenthood) as creator and producer, About a Boy could very well be the next universally appealing family show.
    • 50 Metascore
    • 60 Lily Moayeri
    Star-Crossed is a by-the-numbers, odds-against, inter-species, teenage love story.
    • 62 Metascore
    • 70 Lily Moayeri
    Rake has enough varied story elements to not fall into the procedural courtroom drama. Kinnear is a natural in the starring role, effortlessly making the shambles of his character's life seem not only plausible, but also sympathetic.
    • 59 Metascore
    • 30 Lily Moayeri
    The main storyline isn't strong enough and the incongruous peripheral elements just confuse rather than engage the viewer.
    • 50 Metascore
    • 40 Lily Moayeri
    The clichés are too silly and obvious.
    • 50 Metascore
    • 40 Lily Moayeri
    [The actors'] experience and timing makes the writing work better than it is written, but they are working overtime to get that to happen.
    • 46 Metascore
    • 30 Lily Moayeri
    Welcome to the Family's storyline is so predictable, it doesn't warrant watching.
    • 44 Metascore
    • 40 Lily Moayeri
    Underwood always plays overconfident characters, and Ironside is no exception, but the wheelchair aspect makes it feel like he is trying too hard. None of the other characters are defined enough to balance out anything Underwood is doing. The stories are textbook cop fodder.
    • 46 Metascore
    • 50 Lily Moayeri
    More risk-taking with the jokes and stepping up to the comedy from the rest of the cast and the show might eventually become something--and that's only if they can come up with enough stories for what is essentially a thin, workplace/home life crossover sitcom.
    • 33 Metascore
    • 30 Lily Moayeri
    For a comedy, We Are Men is, in a word, sad.
    • 38 Metascore
    • 45 Lily Moayeri
    The acting lacks conviction, but with a script this predictably sudsy, acting chops aren't at the top of the required list.
    • 59 Metascore
    • 50 Lily Moayeri
    Nothing groundbreaking, but every so often a sports-themed show is de rigueur
    • 15 Metascore
    • 20 Lily Moayeri
    With such a superior comedy cast, it's deplorable how far this badly written and directed show has dragged them down.
    • 65 Metascore
    • 20 Lily Moayeri
    The characters are cookie-cutter, the dialogue predictable, the jokes stale and flat, completely unexpected from a sitcom veteran.
    • 74 Metascore
    • 80 Lily Moayeri
    Those two alone [Raymond "Red" Reddington (James Spader) and Liz Keen (Megan Boone)] are worth watching Blacklist, but the drama's storytelling is powerful enough to make you commit to it from the very first episode.
    • 64 Metascore
    • 60 Lily Moayeri
    The Trophy Wife characters are well developed and the actors very natural in their roles. The kids are brilliant--particularly Tsai.
    • 70 Metascore
    • 70 Lily Moayeri
    A solid cast with tangible family chemistry make Blue Blood a contender.
    • 73 Metascore
    • 60 Lily Moayeri
    Despite the disappearance of his top lip when smiling, newcomer Wolk employs the same conman charm on the viewer. Rooting for both the wife and the girlfriend--maybe a little bit more for the latter, Lone Star has the makings for a sudsy tune-in.
    • 66 Metascore
    • 70 Lily Moayeri
    While Hawaii Five-0 Mark II has none of its predecessor's cringe factor, the classic theme music retains its blood-rushing quality with a sharp, updated recording. And when McGarrett first utters the infamous line, "Book 'em Danno," we dare you not to let a little grin escape.
    • 67 Metascore
    • 40 Lily Moayeri
    If you can tolerate the overly histrionic pilot and are curious enough to find out what "the event" actually is, of which there is no mention in the pilot, then NBC has a Lost-esque show on its hands. Count me out.
    • 63 Metascore
    • 20 Lily Moayeri
    The rest of Detroit 1-8-7's cast is fill-in-the-blanks police fodder. The only two characteristics that separate this show is one, it is filmed wholly in Detroit (who cares, a soundstage looks just as convincing) and two, the cameras are handheld (who cares, that shakiness can become very annoying).
    • 63 Metascore
    • 50 Lily Moayeri
    The efficiency and charisma of these two, enhanced by the haute couture and clichéd exotic locales, makes watching Undercovers really fun-but not very believable as a spy drama. It is all a little too casual and humorous to be convincing.
    • 45 Metascore
    • 10 Lily Moayeri
    In under 10 minutes, Outsourced manages to hit numerous offensive Indian stereotypes, borders on being racist, and not remotely funny.

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