For 274 reviews, this critic has graded:
  • 43% higher than the average critic
  • 8% same as the average critic
  • 49% lower than the average critic
On average, this critic grades 1.4 points lower than other critics. (0-100 point scale)

Lucy Mangan's Scores

Average review score: 68
Highest review score: 100 The Politician: Season 1
Lowest review score: 20 The Gilded Age: Season 1
Score distribution:
  1. Negative: 9 out of 274
274 tv reviews
    • 35 Metascore
    • 60 Lucy Mangan
    Katherine herself too often steps across the line from bitch to simple sociopath. ... A little more light and shade would work wonders and still not take it anywhere near Motherland territory, or lead it to be mistaken for any of the other assorted other “mums-go-mad!” offerings that make you wish for Joan Crawford to be reborn and show us all how it should be done.
    • 58 Metascore
    • 60 Lucy Mangan
    So far it’s all a little paint-by-numbers.
    • 67 Metascore
    • 80 Lucy Mangan
    It can only add valuably to our knowledge, and increase our capacity for nuance when seeking to understand the myriad ways our minds can malfunction and trap us in a hell of our misfiring neurons’ own making. That it can do this while making us laugh with Marnie, and never at her, is barely short of a miracle, but that is what it is. Pure brilliant.
    • 75 Metascore
    • 80 Lucy Mangan
    There is a cherishable sense of deftness and overarching control about the whole endeavour that leaves you longing to find out what will happen rather than anxious amid proliferating possibilities. If there is nothing groundbreaking or fabulously innovative here (you can see shades of many previous dramas – most recently perhaps Gold Digger and Deadwater Fell), it is no problem at all. If there is nothing groundbreaking or fabulously innovative here (you can see shades of many previous dramas – most recently perhaps Gold Digger and Deadwater Fell), it is no problem at all. It is a good story well told and those two things, done well, are quite rare enough.
    • 86 Metascore
    • 100 Lucy Mangan
    The mystery element and its resolution for Sukey and Elizabeth are not too complicated, psychologically or practically, and nor do they need to be. The real drama exists elsewhere, in bravely impressionistic form held together by superb writing, a complex but immaculate structure and Jackson’s mesmerising, heartbreaking (and funny – as when she cannot remember who the prime minister is but “I know I don’t like him”) performance at its heart.
    • tbd Metascore
    • 80 Lucy Mangan
    If the finale loses the absolute delicacy of touch that has marked the rest of the series, as the large emotions surface at last, that is a vanishingly small criticism of an offbeat, charming and moving creation from Minchin and everyone else. It was beaut.
    • 80 Metascore
    • 80 Lucy Mangan
    It’s a show with a loving heart that nevertheless manages to remain witty and fleet, doing a lot with every scene and never wasting a minute.
    • 68 Metascore
    • 80 Lucy Mangan
    It’s got wit, warmth and charm in abundance, and although it includes adults in its fun it doesn’t cater to them.
    • 61 Metascore
    • 60 Lucy Mangan
    What a richly bonkers soup it is.
    • 59 Metascore
    • 40 Lucy Mangan
    This is the expensively made, atrociously written, chaotic, borderline-barmy tale.
    • 66 Metascore
    • 60 Lucy Mangan
    Take what you have learned from The Hand That Rocks the Cradle, through the aforementioned Gone Girl, put more recent memories of The Victim (that one with Kelly Macdonald), The Replacement (that one with Morven Christie and Vicky McClure) in order, stir in scraps from any story you have seen or read with a lost baby at its heart and you are away. Half your work is done and you are free to kick back and enjoy the non-plot elements.
    • 82 Metascore
    • 80 Lucy Mangan
    Over The Plot Against America’s six-hour course, Simon and Burns do their usual exceptional work in delicately fitting pieces of a larger and larger puzzle together to reveal a bigger and more complicated picture at every step. If the beginning seems a bit stagey [...] it finds its feet quickly thereafter.
    • 63 Metascore
    • 60 Lucy Mangan
    Hitmen may be just a bit too woolly and broadbrush to make a hit in the grander scheme of things. But it finds its target often enough to be more than worth your while.
    • 60 Metascore
    • 20 Lucy Mangan
    Little Voice is little short of a horror show.
    • tbd Metascore
    • 80 Lucy Mangan
    It is a hilarious, warm, brutal melange that works because it has heart without sentimentality and authenticity without strain.
    • 87 Metascore
    • 80 Lucy Mangan
    A funny, fresh reimagining. Building on Martin’s solid, good-hearted tales, it maintains a contemporary feel without losing the old-fashioned charm at its heart.
    • 70 Metascore
    • 80 Lucy Mangan
    Overall, Gangs of London promises to be a wild and wildly polished ride, even before the twist at the end of the 90-minute opener.
    • 70 Metascore
    • 80 Lucy Mangan
    The slight disbelief and disorientation among the authorities suddenly confronted by the need to turn theory rapidly into practice resonates as the makers must never have envisaged.
    • 75 Metascore
    • 60 Lucy Mangan
    It’s not exactly a hagiography, but there is no grit in the oyster.
    • 86 Metascore
    • 100 Lucy Mangan
    It is, in short, an extraordinary, breathtaking achievement without a false note in it, shot through with humour and with ideas, talent and character to burn at every perfectly plotted turn.
    • tbd Metascore
    • 80 Lucy Mangan
    It is slow without being frustrating or dull, thoughtful without being ponderous or pretentious. It has a further advantage of basically adhering to a known formula while sitting slightly at odds with it.
    • 49 Metascore
    • 40 Lucy Mangan
    Despite occasional laughs to be gleaned from the twist that Malkovich can give the most unpromising of lines, Space Force is not funny, which makes it hard to class as a comedy.
    • 71 Metascore
    • 60 Lucy Mangan
    It is the characters who carry the series, which is remarkably unstylish in execution and rushes through parts of the investigation where you might have preferred it to linger, and lingers where you might have preferred it to pick up the pace a little.
    • 55 Metascore
    • 60 Lucy Mangan
    Snowpiercer the series manages, gloriously, to bypass all that is great and almost all that is good about both of its sources of material, and turn it instead into a police procedural that just happens to be set on the aforementioned giant armoured train.
    • tbd Metascore
    • 60 Lucy Mangan
    As the suspenseful psychological thriller it purports to be, Penance is a bit slack. ... But, despite all this, it is basically fit for purpose. Which is mainly, at this point in the subgenre’s development, still to work out how a mass audience feels about sex-swapped, intergenerational banging (I mean, romance … I mean banging) and how long writers and makers have before they need to start adding real meat, real characters and real plots, because the frisson of novelty has worn off.
    • 41 Metascore
    • 40 Lucy Mangan
    Bake Off and its ilk transmute basic ingredients and materials into something better. The travel of Flower Fight is in the opposite direction. Watching the innumerable contestants (the producers can’t even be bothered to show us all of them in the opening episode) descend like a plague of locusts on the nursery provided for the show and denude it of its naturally beautiful stock, then force the plants and flowers into unnatural forms to far less beautiful effect is more depressing than uplifting. It’s sometimes actively painful. The presenters don’t seem convinced by the endeavour, either.
    • 68 Metascore
    • 60 Lucy Mangan
    Its subtle layering so far puts The Nest a cut above the usual run of such dramas, though I hope the closing shots and the emerging facts about Kaya (via the investigator Dan has put on Kaya’s trail and a reveal by James) don’t signal a slide into a more by-numbers approach in the coming weeks.
    • 62 Metascore
    • 60 Lucy Mangan
    Hightown works off a solid, formulaic base. It also relies on coincidences. ... The sense of place that is conjured is remarkable, and how Provincetown’s industries (fishing, drug-trafficking, tourism) and surface attractions work on and power each other is attentively and cleverly done.
    • 53 Metascore
    • 80 Lucy Mangan
    White Lines has been hyped as the hit of the summer, and even though it will not be the summer any of us were expecting I’d be surprised if this lurid, swirling, fantastically confident creation didn’t hit the spot. Its energetic brio and the escapism-cum-nostalgia-trip (via a soundtrack stuffed with the Happy Mondays, the Farm, Radiohead and all points in between), may be even more rapturously received under current conditions than it would otherwise have been.
    • 66 Metascore
    • 80 Lucy Mangan
    Gold Digger works beautifully as a soapy drama that promises to be full of twists and turns but emotional and psychological substance too. Jennings surely has much more to show us with Tom (otherwise, y’know, you don’t get Jennings) and Ormond grounds the whole thing in truth.

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