For 275 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 1.3 points lower than other critics. (0-100 point scale)

Lucy Mangan's Scores

Average review score: 68
Highest review score: 100 Dracula (2020): Season 1
Lowest review score: 20 The English Game: Season 1
Score distribution:
  1. Negative: 9 out of 275
275 tv reviews
    • 78 Metascore
    • 100 Lucy Mangan
    [Russell T Davies] aerates the heaviest, most fraught issues (from the insidious nature of tech, to income inequality, to the rapidity with which events can become both ancient history and rapidly repeated) with wit and optimism, so that they are no longer a burden, to us or the narrative, but grist to the mental and dramatic mill.
    • 88 Metascore
    • 100 Lucy Mangan
    Nobody does anything stupid, extreme, inconsistent or out of character. The beauty of the script and the performances – which build relationships so delicately and naturally, which modulate so deftly in and out of grief and laughter, and which turn ordinary moments into hilarity and heartbreak without you noticing how they got you there – will take your breath away.
    • 88 Metascore
    • 100 Lucy Mangan
    As ever, nothing is wasted; not a scene, not a line, not a beat. For every morsel of information gathered by the team and by the viewer, another turn reveals 100 hidden possibilities. It fits together flawlessly.
    • 62 Metascore
    • 40 Lucy Mangan
    Limetown is tosh of the highest quality. It has touches of Wayward Pines, second-tier X-Files episodes and that thing I can’t remember the name of but they all woke up in a hotel with no idea how they got there and unable to leave.
    • 86 Metascore
    • 80 Lucy Mangan
    What could easily become agitprop resists the temptation. It is a dense, fast-moving series that examines not just the effects of systemic racism but the effects of all sorts of disenfranchisement (though you could argue they all have that same root cause) on people with the boys’ background. ... The performances, from the young actors and the veterans alike, are uniformly astonishing.
    • 66 Metascore
    • 80 Lucy Mangan
    The three instalments vary in mood, genre and just about everything else (as anthologies are designed to do) but they share a new air of calm authority. There’s an unhurriedness to each, a greater willingness to linger and develop moments that might have passed as a single beat in other seasons that perhaps bespeaks an increasing confidence of Black Mirror’s creators in their product. If so, it’s been well-earned.
    • 82 Metascore
    • 80 Lucy Mangan
    To everything there is a season, and this is Streep’s. Monterey belongs to Mary Louise now. God help the five.
    • 72 Metascore
    • 80 Lucy Mangan
    It’s a real and joyful return to form for the show that has been taken fiercely to the hearts of people who weren’t there the first time round and, perhaps even more fiercely, by those who were. The brothers continue to play with, reference and occasionally lift all the things that made the Johns, Carpenter and Hughes, and the Steph(/v)ens, King and Spielberg, enduringly great and mash them into something equally fun, racy and frightening as hell for us all on the small screen. It’s almost like being young again.
    • 67 Metascore
    • 40 Lucy Mangan
    There can be comfort in the familiar, but for it to be entertaining and engaging it must be well made. Dead to Me is badly paced, tonally inconsistent and – above all – deadly dull.
    • 66 Metascore
    • 60 Lucy Mangan
    It doesn’t quite work, because it doesn’t quite disguise the fact that beneath the razzle-dazzle, every character apart from the main two is tissue-paper thin. This is particularly true of the female parts. ... When both Crowley and Aziraphale are offscreen, things fall flat. In fact, a distinct sense that everyone is just marking time until they come back creeps in.
    • 82 Metascore
    • 60 Lucy Mangan
    Things may improve over the coming weeks as the smoke clears, and I hope so. Chernobyl is a story that has everything, but at the moment, comrades, justice is not being done to it.
    • 58 Metascore
    • 40 Lucy Mangan
    Too crass to care about, too serious to take seriously. Still, for all that, it is a solidly crafted creation with only the set designers working even harder than the leads.
    • 70 Metascore
    • 60 Lucy Mangan
    Events are shown, and re-shown, from different perspectives and often reach far enough back to cause some confusion if you’re not bingewatching several episodes or the whole thing at once. The technology makes Rudd’s appearances with himself seamless – no dodgy shooting over a stand-in’s shoulder here – and it chunters along nicely, musing philosophically as it goes and delivering enough laughs at least to make sense of the casting. I can live with it.
    • 65 Metascore
    • 80 Lucy Mangan
    Every episode is a spare, precision-engineered hour without a wasted shot or beat. If it feels occasionally just slightly too slick or the writing slightly too clever, these are very much forgivable flaws. Overall it feels like Law & Order: Terence Rattigan Unit and I love it, even if I never thought I’d see the day.
    • 85 Metascore
    • 80 Lucy Mangan
    It is a bravura series that interrogates power, storytelling and the former embedded in the latter. It has a (still unusually) diverse cast, writing team and cohort of directors in terms of both sex and class, and, even as it strays from Moore and Gibbons’ original content, it honours their underlying ambition: to deconstruct our legends and our myths, ask where they come from, what purpose they serve; and to make us think and think again about who tells us what, why – and why they are the ones who get to do so.
    • tbd Metascore
    • 80 Lucy Mangan
    Everything is fleet and light, nothing outstays its welcome and the audience is left to be swayed – should they need it – towards the message of tolerance by the joyful insouciance of the whole thing, rather than any heavy-handed lectures or rigid point of view.
    • 48 Metascore
    • 40 Lucy Mangan
    As things stand, it’s a derivative, badly paced, supernatural slog that substitutes jump-cuts for actual shocks, and Sasha’s extensive nail art for character development and delivers little in the way of surprise – or frankly, even expected – twists. There will be no harm done when this one gives up the ghost.
    • tbd Metascore
    • 20 Lucy Mangan
    I’m sure Lilley is capturing different Australian types and language registers better than I can appreciate, but still the whole thing looks and feels like a ragbag of choices that neither hang together per character or per show.
    • 75 Metascore
    • 80 Lucy Mangan
    The premiere pulled everyone and everything together; it was, for the most part, an almost nostalgic hour. ... It is the competing loyalties, the loves and enmities that enmesh the Lannisters, Starks, Targaryens and the rest, after all, and the questions Game of Thrones poses about conscience and corruption and the manifestations of power, that will propel us through to the end.
    • 83 Metascore
    • 80 Lucy Mangan
    The Good Wife spinoff has now become fully its own thing – even if that thing, with its welter of tones and moods, from levity to despair, and frequently experimental forms (the episode also included a cartoon song video explaining non-disclosure agreements, on top of the talking pellet wounds) – resists simple classification.
    • tbd Metascore
    • 80 Lucy Mangan
    Santa Clarita Diet remains a gorgeously flavourful one. Fill up.
    • 84 Metascore
    • 80 Lucy Mangan
    As a documentary it is an astonishing piece of work. Relentlessly spare and unsensationalist, it manages better than any other in its genre not to let its attention wander from the survivors’ testimony.
    • 75 Metascore
    • 60 Lucy Mangan
    While it covers a lot of cultural ground, “Lorena” skims over it too fast and lightly. There are still a lot of dots to be joined and inferences left to be made by a viewer who must already be fairly informed about, and sympathetic to, the issues in order to do so.
    • 61 Metascore
    • 40 Lucy Mangan
    It is purest hokum: a superhero show with some potentially interesting stuff lurking underneath about family dysfunction (mostly carried by Ellen Page as the black sheep) that promises never to be developed.
    • 88 Metascore
    • 80 Lucy Mangan
    Russian Doll is an acquired taste. But do persist: there is such a fine, idiosyncratic, impressive show nested within.
    • 79 Metascore
    • 80 Lucy Mangan
    Iimmaculately, densely written, glorious creation. ... And it’s funny. Endlessly and seemingly effortlessly funny, in a naturalistic way that doesn’t have you listening for the hooves of the next gag thundering down a well-worn track but, like Catastrophe, catches you almost unawares and makes you bark with laughter.
    • 59 Metascore
    • 20 Lucy Mangan
    What none of [the episodes] has – not even Jolene, which actually has Dolly in it playing the owner of a juke joint who takes a young, motherless singer under her wing – is a scintilla of the wit, energy, humour, camp, glory or fizz of Parton. Each one is a squeeze of pure schmaltz from an industrial tube of the stuff.
    • 64 Metascore
    • 60 Lucy Mangan
    Creepy, yes. Atmospheric, always. Unsettling in general. But so little actually happens that the series drags. Tension rises to such small payoffs that you stop hoping for any kind of terrifying climax, and start wondering why you are watching something that might have made a decent 90-minute schlockfest being spread so agonisingly tastefully over five hours.
    • 89 Metascore
    • 100 Lucy Mangan
    The team behind it has added depth of character and backstory – and with those things come heart and frankly ridiculous emotional impact.
    • 61 Metascore
    • 100 Lucy Mangan
    There isn’t a weak link in The Morning Show. Aniston is flawless. ... Everyone else – especially Billy Crudup as the network suit playing seven-dimensional chess with everyone – matches her point for point. The script has depth and endless torque and the whole thing is an exhilarating rush that makes room for nuance, thought and – though it’s definitely a drama – humour.

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