i's Scores

  • TV
For 231 reviews, this publication has graded:
  • 53% higher than the average critic
  • 6% same as the average critic
  • 41% lower than the average critic
On average, this publication grades 2.9 points higher than other critics. (0-100 point scale)
Average TV Show review score: 70
Highest review score: 100 The White Lotus: Season 2
Lowest review score: 20 Joe vs Carole: Season 1
Score distribution:
  1. Mixed: 0 out of 133
  2. Negative: 0 out of 133
133 tv reviews
    • 66 Metascore
    • 80 Critic Score
    With a script that doesn’t take itself too seriously, a knowing wink at the audience, some genuinely scary bits and a committed and very funny central performance from Ortega that more than holds its own (even if Ricci and Addams Family Values remain unbeaten), this is a treat.
  1. These people, Natasha told us, were “just existing, like bit parts in someone else’s story” and you got the impression that perhaps just around the corner, a slick Guy Ritchie-esque heist was underway. But in this story, it was all about the underdogs – and who doesn’t love an underdog?
  2. This is a taut and airless show that knows exactly how to build tension effectively (and stressfully). More importantly, its capable ensemble cast do well to establish distinct characters each experiencing their own individual nightmares – and inevitably prompt viewers to ponder how they might respond to this one.
  3. While it’s mainstream fare when compared to such sublime mafia fish-out-of-water comedy dramas like Get Shorty and Barry, it’s entertaining, nonetheless. Winter, of Boardwalk Empire and The Sopranos renown, is on home ground with his playful script and the series doesn’t waste any time setting out its stall.
  4. While there is certainly a twist of sorts towards the end, it wasn’t as clever as it needed to be to justify what preceded it, nor the bizarre dip into surrealism that follows.
  5. At times, Beckham’s inspirational speeches venture so far into cliché that you half expect Mickey Mouse to pop up in his PE kit. But who can blame him for wanting to bring some joy into the world? I couldn’t wipe my own cheesy grin off my face.
    • 65 Metascore
    • 60 Critic Score
    The mimicry can be grating when you’re more familiar with the real thing. The pace and the cast aren’t quite as finely tuned as the previous series either, though the good moments are still really, really good.
  6. White has once again produced something as heady and intoxicating as it is sour and unsettling. This is another dose of self-sabotaging lurid luxury that makes helpless, gleeful voyeurs of us all.
  7. Knight will have to go badly astray to not make something highly watchable out of such extraordinary source material. Happily, his heightened, left-field script is perfectly in sync with his subject.
  8. Cosy enough to snuggle down with as the nights draw in, but not so formulaic that you might drift off on the sofa, The Pact proved eminently absorbing.
  9. Despite appearing to retread old ground of the murder of a young woman who was on her way home, Karen Pirie, with its distinctly female-driven lens, feels relevant and self-aware, with an understanding of the effects of trauma that is not always catered for by this kind of show.
  10. It is ironic that a show wanting us to question reality is populated entirely by characters who feel flimsy and bloodless. Intermittently, The Peripheral might look quite cool but it’s both hard to follow and hard to care about.
  11. This is a shoot-em-up extravaganza, pure and simple. It’s ludicrous but lavishly well done, if you like this sort of thing. But while stylish and self-assured, Gangs of London also feels simple-minded and clichéd.
    • 61 Metascore
    • 40 Critic Score
    Part of the problem is that Candy is trying to be all the things simultaneously: a gritty true-crime series, a tense courtroom drama and a rich character study. But without committing to any of these ideas, it ends up going nowhere.
  12. The first three episodes, released this Friday, are by no means bad TV. For the most part, the characters are complex, the story is interesting and, if you haven’t read the book, sometimes unexpected. But there are plenty more nuanced, modern takes on adventure stories based in India — the BBC’s A Suitable Boy is a good place to start.
  13. The strands are convoluted and little appears to make much sense – there is rather a lot of trust required of the viewer that master TV showrunner Moffat will pull the whole thing off. Thanks to wonderful performances from its four main players, and particularly to Tucci at last back in a creepy, sinister role after a long stretch of playing loveable characters (and stretching pasta in Italian farmhouses), it is watchable enough for me to commit to the next three episodes to find out if he can.
  14. Here, we have 10 hour-long episodes, each of which meander along to an exciting, often scary, cliffhanger only for the momentum to drop by the next instalment.
    • tbd Metascore
    • 80 Critic Score
    This new series is more great form from a man who is quickly becoming the king of the travelogue, a genre which is otherwise overstuffed with copycat shows being churned out week after week on UK screens. Searching for Italy, however, feels like it has been done with care and class, and with Tucci at the helm, it’s great entertainment too.
  15. Infused with pain and empathy by White’s taut but tender performance. It is equally easy to root for his staff. ... Watching how the sausage gets made may not be pretty but in The Bear, it is impossible to look away.
    • 82 Metascore
    • 100 Critic Score
    An even more compelling portrait of a debauched workplace, with greater character development and some cardiac-arresting set pieces.
  16. In a potentially uneven series, there may be some standout episodes (it’s hard to imagine Duff not being captivating) but so far, Suspect is both very serious and quite silly at the same time.
  17. Andor is more mature than its peers. It’s closest in tone to The Mandalorian, but without the gimmicks akin to Baby Yoda, and it has none of the unnecessary fan service that dragged down the otherwise brilliant Obi-Wan Kenobi.
  18. There’s nothing subtle about some of the acting in Bloodlands, especially Nesbitt’s lingering, over-emphatic glances, more starey than glowering. But then the script asks him to do a lot of clunky signalling.
  19. For all its sex-positive posturing, the sum of Minx’s parts is surprisingly free of nuance.
  20. The result is a total – and entirely unoriginal – mess. Literally nothing about this show is coherent in any way. At times, it is impossible to follow, hurtling through the action and chucking about terminology we are yet to grasp; at others, it drags and is downright boring.
  21. There were very few surprises in the results. ... Noel and Matt were delightfully frivolous, Prue was still giddy at the prospect of eating a very boozy cake, and Paul’s “white walker” eyes still stalked the tent like a lioness hunting a gazelle. Bake Off has become a vital part of British culture and anything other than the delightfully twee show we know and love would cause riots in the flour aisles. The last thing Britain needs right now is more change.
  22. The half-hour episodes zip along with such speed and bombastic energy that it’s often hard to keep up with the endless surprises (it would have certainly benefited from hour-long episodes). But as I reached the halfway point of the eight-episode series, I realised I was rooting for Katie and Stefan as if they were my close friends. That is a sign of a good TV show.
  23. Sherwood is shaping up to be one of the most compelling dramas of 2022.
  24. A whodunnit that is cheesy as anything, but to be admired for committing wholeheartedly to its absurd, coincidence-laden storyline. ... Turner gave a masterclass in charm, even as his character’s actions telegraphed an underlying creepiness.
    • 71 Metascore
    • 60 Critic Score
    The dialogue’s often clunky, with cod mysticisms. Tolkien purists will probably be equally aggrieved by the insertion of invented characters and storylines. But showrunners JD Payne and Patrick Mackay have taken a mass of material, originally presented as a chronicle with little in the way of dialogue or character development, and forged a compelling, coherent narrative that fills a mouth-watering gap.

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