The A.V. Club's Scores

For 977 reviews, this publication has graded:
  • 61% higher than the average critic
  • 4% same as the average critic
  • 35% lower than the average critic
On average, this publication grades 3.1 points higher than other critics. (0-100 point scale)
Average TV Show review score: 69
Highest review score: 100 Olive Kitteridge
Lowest review score: 0 Pacific Heat: Season 1
Score distribution:
  1. Mixed: 0 out of 668
  2. Negative: 0 out of 668
668 tv reviews
  1. Marty and Wendy don’t give Bateman and Linney much cause to stretch. One gets saddled with some sub-Scorsese soliloquies about criminal philosophy; the other has to make subtext into text with lines about vultures circling the Byrds’ and the scrubbing of a damned spot on the family’s dock. ... Derivative and lethargic.
  2. It always feels like Friends From College could be exerting a little more effort.
  3. That’s I’m Sorry: Reliable, recommendable, satisfying, likable, consistent.
  4. That’s the part that The Bold Type excels at, offering modern takes that the young women of The Best Of Everything’s Pendant Publishing could never have imagined. (Anvil-like, Scarlet’s publishing corporation is called Steinem.) They’re almost enough to surpass the sometimes cloyingly sweet nature of the unrealistic trio at the show’s center.
    • 71 Metascore
    • 75 Critic Score
    While the animation and writing in this first “season” occasionally stumble along the way, the series’ creators have gone above and beyond to wring a resonant story from a game that never really had or needed one. It’s a promising start, and while this isn’t saying much, that alone makes it one of the most successful video game adaptations to date.
  5. Snowfall mostly delivers on its promise. But it also benefits from having more room to breathe than most freshman dramas. If Snowfall really wants to establish any kind of empire, it’ll have to run leaner in future installments.
  6. Gypsy is almost completely dark and soulless and filled with no one viewers can possibly feel warmly toward, except for the show’s adorable 6-year-old.
  7. Broadchurch accomplishes the whodunit in a wholly engaging, yet socially aware manner, anchored by its devotion-inspiring leads.
  8. Preacher recovers a lot of ground from the first season, thanks in part to improved pacing. And it’s really just looking better than ever, from the costuming to the sun-washed cinematography and gorgeous saturated colors.
  9. GLOW needs no persuading to take wrestling seriously. And if it struggles to get some of its larger points across, well, so did the original Gorgeous Ladies Of Wrestling. But it’s a totally winning, totally unique series, a battle royale of styles and tones that deliveries victories to characters who can really use them.
  10. Rather than turning to its characters to provide a reason to tune in, the show throws every absurdist and titillating trick it can think of at the viewer, hoping one of them will jolt the senses enough each week to return for a fix of more.
  11. Despite the chaotic start, the new season mostly upholds the series’ honest, humorous look at the prison populace.
    • 83 Metascore
    • 91 Critic Score
    The episodes feel pointed and agile in their narratives (as early as episode two, there are tearful goodbyes), while also indulging in the right doses of pure fun and fan service.The episodes feel pointed and agile in their narratives (as early as episode two, there are tearful goodbyes), while also indulging in the right doses of pure fun and fan service.
  12. Daytime Divas isn’t going to make you think, and you probably won’t consider it for a single nanosecond after it’s over. But for turn-your-brain off, entertaining summer fluff, it perfectly fits the bill, like the trashiest reality show with a better, flashier script.
  13. In I’m Dying Up Here’s attempts to reflect a diversity of experiences within the pursuit of creative satisfaction, it sometimes feels like everyone is working at the same club that’s located in parallel universes.
    • 64 Metascore
    • 83 Critic Score
    Daniel Levy has a confident comedic voice and a knack for biting dialogue, which can only mature along with the series, especially as we get to know the town and the character more. There is room for improvement--luckily, there will be a second season to work on that.
  14. While a tad short of The White Princess, the costuming and pageantry of the show is exemplary (even if some of those castle shots look lifted from Once Upon A Time), so it’s lovely to look at, but hard to follow. And harder still for it to hold your attention. Further episodes will need to amp up something--romance, intrigue, trauma--to grab the audience.
  15. If you, like me, had heard whispers that this revival was going to be Lynch’s vision almost entirely unconstrained by network notes--if you, like me, were buckled in for two hours of uncompromising surrealism and horror, this premiere delivered.
  16. Mostly these are jaw-dropping tales about horrific things that happened a long time ago, limiting the urgency of the narrative. ... In that way, The Keepers is more of a meditation on memory and truth than a murder mystery, and the telling of the tale is a resolution in itself.
  17. Season three represents a smarter approach to topical material. Just like its namesake character, Unbreakable Kimmy Schmidt is growing up.
  18. Curbing Martin’s screen time would ultimately benefit Downward Dog, whose human cast is just as enjoyable. But Killen and Hodges have also seen to it that their furry co-lead is more than just a gimmick.
  19. In the first few episodes of Anne With An E, the familiar tales resonate--Anne’s quarrel with Mrs. Lynde, Marilla’s missing brooch--enticing new Anne fans the way the original novels did for Anne Of Green Gables in years past.
  20. The show is often funny and generally entertaining. If you try to study it it can feel elusive, like you need an education in gender studies or art history to appreciate it. But watch it for the actors, story, and cinematography, and you can binge it like any other show.
  21. This batch demonstrates that Master Of None finds just as much inspiration from the people surrounding Ansari. That’s where the root of the Francesca problem lies. For everything Alessandra Mastronardi invests in the role, she’s playing an invention surrounded by lived experiences. There’s nothing wrong with a little fantasy, but it clashes with the entertaining way in which Master Of None reflects its creators’ realities.
  22. Rush and Flynn sound and even move similarly enough to link their performances as different stages in the life of one man. Their complementary performances buoy the first hour of the series, which otherwise adheres a little too closely to the curriculum.
  23. Wigfield leads her writers’ room with the same eye for sharp characterization and love of fast-flying gags (be they verbal or sight) as her mentors do. Couple that with a talented cast, and it’s clear to see why Great News is immediately such a winner.
    • 64 Metascore
    • 58 Critic Score
    The Immortal Life Of Henrietta Lacks is too sentimental for its own good. It’s not really fair to compare a film to its original source material--books and movies are different mediums with different strengths--but it’s hard not to rue what’s lost in this version, which skimps over both the science and the relationships that form the heart of Skloot’s book. At least Winfrey’s performance brings Deb to boisterous, believable life.
  24. As familiar as this all sounds, the déjà vu won’t last for viewers; the writers have too refined an approach for any of this to come across as a mere echo of previous arcs.
    • 85 Metascore
    • 100 Critic Score
    The series maintains a perfect balance between joy and trauma that exemplifies the duality of the black experience; its writing is sharp and contemporary. Even the moments of parody feel relatable as opposed to over-the-top.
  25. There are some truly shocking moments early on, but it all just feels a bit too familiar. Luckily, the cast picks up the narrative slack; Winstead and Coon might both be playing thwarted women, but they’re basically fire and ice. McGregor manages to carve out distinct personalities in his dual performance.

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