The Guardian's Scores

For 744 reviews, this publication has graded:
  • 41% higher than the average critic
  • 8% same as the average critic
  • 51% lower than the average critic
On average, this publication grades 0.2 points higher than other critics. (0-100 point scale)
Average TV Show review score: 67
Highest review score: 100 Succession: Season 3
Lowest review score: 20 Little Voice: Season 1
Score distribution:
  1. Mixed: 0 out of 344
  2. Negative: 0 out of 344
344 tv reviews
    • tbd Metascore
    • 60 Critic Score
    It’s brash, Minhaj’s self-mockery feels like a smokescreen for self-regard and the sentimental conclusions are packaged too neatly for me – but not for Minhaj’s US crowd, who cheer the schmaltzy moments to the rafters.
  1. The Bear is half-hour gobbets of kinetic, pressurised, propulsive brilliance with occasional moments of stillness that make you see how much has been done in order to serve up something so delicious. This is a show that has been meticulously prepped, simmered, reduced, balanced and eventually plated up to perfection by the creator Christopher Storer and co-showrunner Joanna Calo. Dig in.
  2. This series is eminently skippable. There is more consistent entertainment to be found scrolling through the new freestyle videos on GRM Daily.
  3. This opening episode sets a strong precedent, but the whole of the second series is on iPlayer, and the show only gets better as everyone’s behaviour, deliciously, gets worse and worse.
  4. There’s something lost in the mission to destroy the innuendo for the sake of fully overt representation. ... The decision to recast Louis with a Black actor proves the most fruitful break from the source material, the leads’ interracial dynamic layered on top of their intricate mix of lust and hostility.
  5. It is well-trodden territory, sure, but it is funny and dry, and more gripping than it initially seems.
  6. It is highly theatrical, and it has, oddly, the feel of early lockdown TV, when as much was done with as little as possible. ... I found the theatrics so heightened – Christina regularly appears to her father as a sort of shimmering clue from the afterlife – that by episode seven, it had lost me completely.
    • 55 Metascore
    • 60 Critic Score
    The intimacy with these characters naturally makes the series more affecting, even if some of the performances are a bit stilted and raw. The earlier episodes are pretty rough, especially when the writers desperately seek levity in a story that doesn’t often leave such breathing room. ... There’s more confidence in later episodes.
  7. Make it through that opening marathon and you have what’s shaping up to be the best Star Wars show since The Mandalorian.
  8. Reboot is at its best when it takes shots at a business that could withstand more of them, leaning into the meta spiral of a show about a show. ... Handling the meta-sitcom is trickier; Reboot struggles to differentiate its fictional stars from the caricatures they play, on Step Right Up and off.
  9. The show’s real identity as a genre piece about an in-too-deep maverick cop is revealed: the conveniently placed clues and particularly the cast’s reliance on pained looks and sly side-eyes becomes hilariously noticeable.
  10. There is no doubt that this macabre tale is fascinating. But often it addresses only the how of it, and not the why. I couldn’t help wondering if it should have waited until its two chief suspects had stood trial – and a verdict been reached – to tell the story more completely.
  11. Caveats notwithstanding, Bake Off is a beautiful thing, a depiction of a diverse Britain healing itself through the medium of cake.
  12. Justin Haythe’s script may embody all the things period dramas seem to be right now – irreverent, foul-mouthed, darkly satirical – but it needs more psychological heft. As a result, unlike its namesake, The Serpent Queen is good but not great.
  13. Wedding Season is an ambitious undertaking that might fail at what it’s trying to do but remains entertaining enough. Those who like their fun fast and furious and don’t want to decree nisi Katie as soon as she appears will no doubt have a better time still.
  14. Overall, cumulatively, the eight 40-minute episodes work. They are attentively curated and edited to bring out the best in every “ordinary” woman interviewed, showcasing their achievements with respect and without relying on the pure emotive rush many of them could provide.
  15. Sherwood builds slowly – layer by subtle, evocative layer – into a magisterial state-of-the-nation piece. Forty years of emotion and history have been transmuted, lovingly and painstakingly, into art. It’s the cleverest, most compelling and most moving thing I’ve seen in years. ... It is, simply put, wonderful.
  16. It is all great, well-acted fun – and shaping up very satisfactorily. It promises to be meaty enough to justify its five-part length. Turner does a particularly good job of holding the two possible sides of O’Loughlin.
  17. Undeniably Von Trier has assembled a colourful rogues gallery here. From the porters in their smocks to the chief in his suit, everyone is afforded a turn under the strip lights. But these characters are so fuelled and burdened by backstory that they’re like in-patients dragging wheeled IV drips behind them, in perpetual danger of tripping over their own feeding tubes.
  18. After nearly six hours spent examining how we can warp and ruin lives, the final 20 or 30 minutes offer a measure of hope and a truly moving testimony to what often sounds like a dead phrase, but here is on display as a living, breathing thing: the healing power of art.
  19. The overall mood is glum, particularly in the present day, but it digs deep for its ending. Don’t expect a rousing end-of-series spectacle, but in its own messy way, it finds a satisfying resolution.
  20. The first episode’s key interviewee is Dallas entrepreneur Courtney Vucekovich. ... Vucekovich’s story seems absurdly naive in the retelling, but that’s her point. Her account appears courageous and valuable because it demonstrates how, if true, anyone could be vulnerable to coercion and abuse.
  21. The pace, too, is a little all-or-nothing. It either races through astonishing action scenes, or lingers on a single conversation or meaningful look. But these are quibbles and, in the end, the spectacle wins. This is enormously enjoyable TV, a cinematic feast.
  22. The Patient, like its central killer, is as fascinating as it is frustrating, the unusual format turning a dramatically juicy thriller into something a little repetitive and improperly paced. It’s a ten-part show about therapy that could have benefitted from being told in one long session.
  23. Despite the manifold sillinesses, the opening scene in James Kent’s directed episode of Ben Chanan’s drama is done effectively.
  24. The series has the hallmarks of a fish-out-of-water documentary, a Ted Lasso in real life, but it turns out to be a more soulful series than that, once it gets over its bumpy landing.
    • 54 Metascore
    • 60 Critic Score
    It would take much more than eight episodes of dramatized headlines to weigh either the enormity of Mike Tyson’s actions or the significance of his legacy. His is a life that resists summarizing, no matter how hard the authorized and unauthorized biographers try.
  25. You will want to put a fist through the screen at several points on fiercely loving and frustrated Maria’s behalf. All while laughing with them. It’s a wonderful thing.
  26. In short, all is as it was in GoT’s heyday. Fun, propulsive, looking great and sounding passable.
  27. Bad Sisters is wonderful. It is also superbly constructed, perfectly paced and brilliantly performed, with Horgan on top form as both writer and actor, surrounded by a cast who don’t put a foot wrong.

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