The Guardian's Scores

For 500 reviews, this publication has graded:
  • 39% higher than the average critic
  • 10% same as the average critic
  • 51% lower than the average critic
On average, this publication grades 0.1 points higher than other critics. (0-100 point scale)
Average TV Show review score: 67
Highest review score: 100 Unforgotten: Season 4
Lowest review score: 20 Lunatics: Season 1
Score distribution:
  1. Mixed: 0 out of 229
  2. Negative: 0 out of 229
229 tv reviews
  1. As always, it is defiantly tasteless (one thorny “dilemma” is resolved by a character’s suicide, and there is a romantic subplot involving a teenager and an older woman), but in turning up the mockery of “the obscene one per cent-er bubble” that Joe and Love now inhabit, it at least finds more space to explore its better themes.
  2. Think of it as a kind of Gossip Girl with gore and credible characters. ... The whole thing is joyfully addictive, and done with brio and style.
  3. Guilt is a guilty pleasure, and I won’t be missing a second of it.
  4. In every scene Reservation Dogs combines its Native American heritage and its US indie film heritage in a potent and smoothly smokable blend. So spark it up.
  5. The soapy humdrum of these stock characters’ lives is of negative interest and the show only predictably comes crashing to life when Chucky, still manically voiced by Brad Dourif, is wreaking havoc.
  6. Nothing here, be it questions or attempted answers, is new. Too much has been said about every aspect of modern marriage and its breakdowns – not least, of course, as a result of Bergman’s groundbreaker – over the last few decades for that to be the goal any more. But they are rarely explored with such style, truth or credibility.
  7. Drama aside, the overall effect is gentle, sunny and laidback, and the show wears its easy charm well. Acapulco doesn’t reinvent the wheel, but Las Colinas is a most pleasant place to spend some time.
    • tbd Metascore
    • 40 Critic Score
    The Closer toggles between two modes: aggressive gags about Chappelle’s antagonists, and feeble protests that he never said anything prejudiced in the first place. There’s also much self-regarding commentary on how brave he’s being.
  8. The writing – though there is in this particularly plot-heavy, season-setting opener less room for the delicate characterisation that customarily leaven the script and make you wring your hands with their deftness and intelligence – remains immaculate. The performances ... remain unimpeachable.
  9. This is a heady concoction of trauma, but there is, of course, plenty of light relief, and it is to the credit of the writing that we never feel an inappropriate lurch in mood.
  10. The detail, the tenderness, the authenticity, the brilliant performances make the whole thing both a compelling drama and a potent testimony to the suffering of too many.
  11. As a programme it is righteously furious about a worthy subject and, as a result, just a little dull. The second episode, Freedom, finds its groove and works much better.
  12. A couple of minor surprises are too easy to predict and there is a whole subplot about dead cats that doesn’t fit in. The series is doomed for ever to be almost great. When the end comes at last, there is a lot of fire and viscera, but no rapture.
  13. As a new sci-fi show, it would be fine. As a big-budget, flagship production for Apple it looks like a fine opportunity wasted.
  14. It is, simply as an apocalypse drama, good enough. And there are, as the series progresses, signs of hope that Yorick will be relegated further into the background, the female characters will come further to the fore, and that it will start to exploit some of the gyno-opportunities offered by the premise. It could just do with getting there a bit faster, that’s all.
  15. Series 12 shows no early signs of staleness. It helps that the Bake Off’s casting process, dedicated to showing that the kind, self-deprecating charm of the hobbyist cuts across every social boundary with the possible exception of class, feels more pointedly celebratory of diversity than ever.
  16. The focus is wider (Jean and Jakob’s is one of the many adult relationships given more attention, and there are more students introduced too) and perhaps as a result the strokes are broader.
  17. None of it feels real. Without the storyline that gave The Morning Show all its power and nuance, we are left with the old luxury fluff, reacquainting ourselves with characters who aren’t substantial enough to merely hang out with. ... This is a drama that demands we take it seriously – it needs to earn that right anew.
  18. Amponsah revives [British activists'] reputations and honours their legacies with an editing device that takes us into the darkrooms of the black photographers Neil Kenlock and Charlie Phillips.
  19. This is a sobering story, told with skill and compassion, and it is a compelling and devastating account.
  20. It is brilliant and furious and human.
  21. In the opening half things are foggy. Thanks to the performances, however (including Hubert Point-Du Jour as nurse Josh, a vital witness to botched operations), things remain compelling at an individual level.
  22. For those who found The Terror – with its exploration of powerlessness, isolation and good v evil – too much in a time of powerlessness, isolation and overt battles between good and evil, The North Water is a warm bath. It occasionally shows pretensions to something greater.
  23. I’m sure the puff nature of the piece will become less obvious as the launch approaches and genuine drama and tensions start to fill the hours. But that doesn’t alter what it is. Everyone’s time and money, all those billions of it, could be better spent.
  24. It’s a deftly handled study of a difficult character that’s more careful and complete than the series itself which is consistently, boldly entertaining but at times a little repetitive and at other times a little structurally messy.
  25. All this unremittingly heteronormative fluff was less interesting than the subplot simmering on the back burner.
  26. The cast includes Wanda Sykes, Laurie Metcalf, Gary Cole and David Harbour, all doing their best with what they have, but limited by oddly old-fashioned jokes. The cultural references are so dated I started to wonder if it was deliberate, a retro choice, like midcentury modern sideboards or moustaches.
  27. It is a horrifyingly tragic but also propulsive story, with twin narratives following the president’s movements and the developing carnage on the ground, minute by minute.
  28. Sparking Joy has followed the principle of the book by not messing with the original TV formula.
  29. The show has lost none of its delicacy or nuance, nor have its makers disturbed its heart and soul – in fact, they have only added to it. All this, and extra Janice too. Quality pum-pum all round.

Top Trailers