CNN's Scores

For 659 reviews, this publication has graded:
  • 43% higher than the average critic
  • 3% same as the average critic
  • 54% lower than the average critic
On average, this publication grades 2.6 points lower than other critics. (0-100 point scale)
Average TV Show review score: 64
Highest review score: 100 The Last Dance: Season 1
Lowest review score: 10 Life of Kylie: Season 1
Score distribution:
  1. Mixed: 0 out of 361
  2. Negative: 0 out of 361
361 tv reviews
  1. "Loot" sounds like a one-note joke on paper -- ha ha, an Apple TV+ comedy loosely inspired by the Bezos' family drama -- that doesn't gain much depth during the first episode. Stick with it, though, and this showcase for Maya Rudolph as a billionaire minted through divorce becomes a sweet if fairly conventional romantic comedy with a few welcome surprises.
  2. The show descends from its second-season cliffhanger into an ever-more-convoluted world of shifting timelines, battling super-teams and existential dangers, presented with plenty of goofy humor and irreverence but as the strange new elements pile up, increasingly aimed at what feels like a hardy band of loyalists with the patience to keep pace.
  3. The spy genre is so well worn one would think there's not much new to be done, but The Old Man largely confounds those expectations, thanks to the stellar combination of Jeff Bridges and John Lithgow.
  4. Atmosphere goes a long way in Dark Winds, a brooding crime series set on Native-American tribal land in the 1970s that's part "True Detective," and with its vaguely mystical vibe, part "Twin Peaks." Featuring Native-American talent in front of and behind the camera, it's a solid mystery that's better during its wide-open-spaces buildup than the somewhat messy finish.
  5. The appeal of the genre is understandable, since as the examples above remind us, there are bountiful rewards if you get it right. It’s just when you miss that vein, you wind up with something as toothless, bland and fitfully silly as First Kill.
  6. Feeling closer to Disney Channel's niche than most Marvel fare, "Ms. Marvel" unleashes a teenage superhero in a show as much about coming-of-age challenges than superheroic ones. Fortunately, that teen, Kamala Khan, is played by the utterly charming Iman Vellani, in what comes across like the junior edition of a comic-book-inspired series for Disney+.
  7. “The Boys” serves notice immediately that its third season will be as ferociously gory and savagely satirical as the preceding two, racing through story at something approaching super-speed. While obviously not intended for every taste, the Amazon series remains a scathing examination of the superhero genre and society at large, threaded with warnings about the corrupting influence of power.
  8. Chronicling the history of a band devoted to chaos and anarchy makes for a messy subject, which might explain why "Pistol" -- a six-part limited series about the rise of the Sex Pistols -- is such a dreary exercise. Director Danny Boyle meticulously replicates the period, but despite plenty of sex, drugs, rock and rage, this Hulu presentation feels more like a coffee-table book than a fully realized drama.
  9. While there's a fine line between Hawkins and the Upside Down, from a narrative perspective the portal separating epic from overkill can be just as narrow.
  10. While there are still four installments to come, based on the liftoff, the Force is still very much with "Obi-Wan Kenobi," which may possess a bit less spring in its step but has lost none of its allure to those who have long followed him.
  11. The result is a five-part Apple TV+ series packed with plenty of dino might.
  12. With Musk very much in the news, "Crash Course" offers a window into this inordinately outspoken and controversial billionaire and the corporate culture that he fosters. Yet more urgently, it raises questions about the safety of Tesla owners when they employ Autopilot now, not where they'll be two years from now.
  13. Assembled with a level of ambition worthy of Carlin’s verbal dexterity, directors Judd Apatow (who not long ago produced a similar ode to Garry Shandling) and Michael Bonfiglio have endeavored to contextualize the comic’s work through key events.
  14. Thanks to Spacek and Simmons, the show proves initially worthwhile despite being its meandering pace. For now, that tandem makes it worth watching the “Sky.” Continuing to do so, like the show itself, remains an unsolved riddle.
  15. "Angelyne" approximates its subject in the wrong ways: It's big, attention-getting and has all the depth of a billboard. Emmy Rossum stars and produced this limited series, which doesn't profess to be truth but rather a facsimile of it. In a year that's already given the world the superior "Pam & Tommy," consider this evidence that impressive makeup alone isn't enough.
  16. It's an admirable effort, but one that simply underscores how unadaptable this material might be -- the bottom line being that if time is indeed precious, these six episodes finally feel too much like a waste of it.
  17. Odd and tense, Candy burnishes Jessica Biel's crime-based limited series credentials, following her star-producer turn in "The Sinner." Here, those two hats come in the service of an understated "whydunit" true crime yarn with all the trappings of a "Dateline" episode, which happily doesn't overstay its welcome at five episodes.
  18. A direct prequel populated by younger versions of characters like Spock and Uhura, it’s hardly a bold construct but it’s mostly an entertaining one.
  19. While the episodes occasionally grind too slowly, Colin Firth's riveting work as the hard-to-read suspect elevates this HBO Max limited series several steps above standard true-crime fare.
  20. Cements its place among Netflix's finest dramas. Having already shown itself to be one of those addictive series that pushed the boundaries of serialized thrillers, its full-throttle race to settle accounts in this final flurry of episodes officially closes the deal.
  21. Moss is obviously a draw, but even she can only do so much with thin and confusing material.
  22. "Under the Banner of Heaven" isn't quite a great show, but it's a solidly good one.
  23. The whole exercise would be considerably stronger as a five- or six-part series that went lighter on both personal detours and the juxtaposition of organized crime figures with the struggles of Ruddy and director Francis Ford Coppola (Dan Fogler) to preserve their vision.
  24. We Own This City doesn’t reach the level that “The Wire” did. Yet in terms of bringing a sharp dramatic eye to big-city policing, Simon and company pretty much own this genre.
  25. Barreling forward without much apparent thought to its own longevity, “Barry” returns without missing a beat, fearlessly racing through story with a mix of darkly comic violence and drop-dead-funny visual gags. Delving deeper into Hollywood’s quirks and its title character’s double life, the crackling third season continues to operate like a high-wire act without a net.
  26. As always, the Kardashians' lives don't unfold with a great sense of urgency, devoting the first two episodes to the preparations for Kim's "SNL" stint, while eliciting fairly obvious exchanges like her marveling, "This will be live. Live."
  27. While "Russian Doll" didn't fully explain the "Groundhog Day"-like aspects of what was happening in its first go-round, it finally reached a logical conclusion. By contrast, the altered nature of Nadia and Alan's predicament mostly just feels like, "Well, we got picked up for another season, so why not?"
  28. The mystery here proves more convoluted and difficult to track. ... It seems fair to say "The Flight Attendant" is a whole lot less fun than it was.
  29. Deftly adding one more layer each year as it has approached the outer shell that was "Breaking Bad." ... Can they stick the landing? That's the last piece of this delicately constructed nesting doll left to unwrap.
  30. There's not much that's really new here, with Peacock's "John Wayne Gacy: Devil in Disguise" having covered similar territory just last year. But Netflix provides both a wider platform, and the project comes with a somewhat more contemporary hook amid ongoing efforts continue to identify Gacy's victims, some of whom remain unknown.

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