Stuart Jeffries

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For 32 reviews, this critic has graded:
  • 43% higher than the average critic
  • 15% same as the average critic
  • 42% lower than the average critic
On average, this critic grades 1 point higher than other critics. (0-100 point scale)

Stuart Jeffries' Scores

Average review score: 70
Highest review score: 100 Guilt (2021): Season 2
Lowest review score: 20 Hoops: Season 1
Score distribution:
  1. Positive: 18 out of 32
  2. Negative: 2 out of 32
32 tv reviews
    • 78 Metascore
    • 60 Stuart Jeffries
    Mood? Tense. Genre? Hokum. Script? By numbers. Likelihood of you catching whole series? I’ll get back to you.
    • 69 Metascore
    • 80 Stuart Jeffries
    Moon Knight is as witty and philosophically interesting as the first two [WandaVision and What If ...?].
    • 87 Metascore
    • 80 Stuart Jeffries
    It’s a vast, sumptuous, dynastic political TV series of the kind scarcely made any more, complete with swooning strings from Nico Muhly’s score.
    • 86 Metascore
    • 80 Stuart Jeffries
    The clothes horse from nowhere is back where we want him to be: in all kinds of trouble.
    • 75 Metascore
    • 80 Stuart Jeffries
    The chief pleasures of Cat Burglar aren’t really the interactive ones at all. Rather, the joy comes from the brilliantly observed homages to cartoons of the golden era before health and safety became a thing and cartoon violence was of exquisite imagination.
    • 78 Metascore
    • 100 Stuart Jeffries
    Laura Linney’s performance as Wendy is all the more chilling because her face says apple pie, but everything she does curdles into evil. Meanwhile, Jason Bateman’s Marty is a study in how far a pragmatic accountant can go into the depths of wickedness without the strain showing on his face.
    • 48 Metascore
    • 60 Stuart Jeffries
    Thanks to some good, understated dialogue – bucks the general mood , ie that this show was not so much written as collaged from odds and ends of other police procedurals. It’s also because Daniels and Tierney remind me so much of David Harbour and Winona Ryder in Stranger Things. Even so, it isn’t great.
    • tbd Metascore
    • 60 Stuart Jeffries
    Despite the use of the latest technology, including gimbals and drones, it is not clear to me what Animal adds to our understanding of the natural world, besides having celebrities do the voiceovers (a mixed blessing, as sometimes the narration is so flat that it feels as if they literally phoned it in).
    • tbd Metascore
    • 100 Stuart Jeffries
    Guilt is a guilty pleasure, and I won’t be missing a second of it.
    • tbd Metascore
    • 60 Stuart Jeffries
    All this unremittingly heteronormative fluff was less interesting than the subplot simmering on the back burner.
    • 85 Metascore
    • 80 Stuart Jeffries
    The charm of these six amiable half-hour rambles through the Beatle’s songbook (Disney +) arose from the lavishly bearded producer and co-founder of Def Jam Recordings looking like an indulgent patriarch listening to his prodigal son’s improbable adventures.
    • tbd Metascore
    • 80 Stuart Jeffries
    Perhaps it’s because Ghosts’ writers also penned and performed in Horrible Histories that this storyline felt like a primer on the Elizabethan age, as well as a revival of a regular segment on that show, namely Stupid Deaths.
    • 77 Metascore
    • 80 Stuart Jeffries
    The mystery of what happened between the Chambers family kidnapping more than a year ago and the present day slowly builds, with the show’s writers, brothers Harry and Jack Williams, cleverly skipping between past and present.
    • 89 Metascore
    • 100 Stuart Jeffries
    It’s a quite brilliant 22 minutes and one with an implicit moral.
    • 76 Metascore
    • 80 Stuart Jeffries
    I love that the creators of Deutschland 89 (More 4) Anna and Jörg Winger (the former also co-creator of Unorthodox), deconstruct western hubris in the third series of this Walter Presents drama about the decline and fall of the Stasi.
    • 81 Metascore
    • 100 Stuart Jeffries
    I love how the show’s creator, Chris Lang, captivatingly sketches the lives of four apparent strangers, challenging us to work out what they’ve got to do with the corpse.
    • tbd Metascore
    • 60 Stuart Jeffries
    With all the freighted backstory and psychic wounds, it’s hard for the sexy protagonists, as for us, to care about the MacGuffin.
    • tbd Metascore
    • 60 Stuart Jeffries
    The Red Shadows is funny, but not intentionally so. Like Line of Duty or Law and Order, it takes itself rather seriously. Happily, we don’t have to.
    • 71 Metascore
    • 80 Stuart Jeffries
    Jack Thorne, one of my favourite TV writers (The Fades, currently on BBC iPlayer, is worth your time), revels in punching up Coulter as a combination of Iago and Lady Macbeth with a hint, at her most pantomimic, of Cruella de Vil. In Thorne’s hands, you never know what she might do next.
    • 58 Metascore
    • 60 Stuart Jeffries
    An otherwise sparkling script drowns in backstory.
    • tbd Metascore
    • 80 Stuart Jeffries
    Ghosts is very British – a mashup of Noël Coward’s Blithe Spirit and Randall and Hopkirk (Deceased), not to mention the manifold sillinesses of Hammer horrors. But it is American in the sense of having a gag-to-airtime ratio much higher than British sitcoms normally manage these days.
    • tbd Metascore
    • 60 Stuart Jeffries
    While promising access to all areas, the makers of All or Nothing are like embedded war reporters. They are unreliable witnesses compromised by close association with the subject of the show and so they don’t get the real dirt or footage of proper meltdowns. Instead of hearing Pochettino’s side of the story, for instance, we get obliging PR footage of Serge Aurier playing footy with school kids and Jan Vertonghen working at a food bank.
    • 35 Metascore
    • 20 Stuart Jeffries
    It is filled with hateful stereotypes.
    • 67 Metascore
    • 40 Stuart Jeffries
    It may come on like Avengers: Age of Ultron, all fatuous fisticuffs and inscrutable nonsense, plus a nice line in mock-heroic subversion of the Marvel/DC franchise à la The Tick, but The Umbrella Academy’s real appeal is like that of The Royal Tennenbaums, The Sopranos or Tracy from Coronation Street.
    • 82 Metascore
    • 80 Stuart Jeffries
    It is a little sentimental, but I am sure many viewers will be in tears watching the series.
    • 91 Metascore
    • 80 Stuart Jeffries
    We can all find jewels in unexpected places. If you’re open to having a pink talking cat struggle with the grief of miscarriage, or can find emotional depth in a horse with dementia being consoled by her errant son, then you bring to BoJack Horseman what it needs to be appreciated. And it’s worth it.
    • tbd Metascore
    • 20 Stuart Jeffries
    [The first installment is] a puff piece so glowing that Volkswagen’s PRs must have been high-fiving each other when they saw it. For the rest of us, Richard Hammond’s BIG seems grotesquely misplaced. ... The script is devoid of human input.
    • 80 Metascore
    • 80 Stuart Jeffries
    One of the pleasures of showrunner Chris Chibnall’s script was it made sense. ... I could have done with less product placement and fewer nods to Men in Black and James Bond, but there was a lot to enjoy.
    • tbd Metascore
    • 60 Stuart Jeffries
    The formula is the same.
    • 85 Metascore
    • 80 Stuart Jeffries
    Fuqua revels in narrating Ali’s 1967 bout with Ernie Terrell, the man who made the mistake of not respecting this name change. ... The first part of this gripping three-hour biography ends with the revenge-seeker’s comeuppance.

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