TVLine's Scores

  • TV
For 154 reviews, this publication has graded:
  • 55% higher than the average critic
  • 2% same as the average critic
  • 43% lower than the average critic
On average, this publication grades 0.5 points higher than other critics. (0-100 point scale)
Average TV Show review score: 67
Highest review score: 100 The Conners: Season 1
Lowest review score: 16 Twin Peaks: Season 3
Score distribution:
  1. Positive: 98 out of 98
  2. Mixed: 0 out of 98
  3. Negative: 0 out of 98
98 tv reviews
  1. Rockwell and Williams are shoo-ins for Emmy nominations this summer, it’s true, but the material they’re given here never quite rises to meet their level.
  2. No, the new Zone isn’t as mind-bendingly innovative as the best Black Mirror episodes--it’d be nice to see future installments break further away from the original template and blaze a new trail--but it’s gripping enough on its own terms.
  3. Boiled down to its essential elements, Hanna is a bland fish-out-of water tale punctuated by short bursts of sudden violence.
  4. As a representation of an underserved demographic, and a declaration of war on lazy fat jokes, Shrill is an unquestioned success… but as a comedy series, it falls somewhere short of that.
  5. Shadows' early episodes are chock full of quotable one-liners and majestically silly moments. ... I ended up watching the series premiere three times… and still found myself laughing the third time through.
  6. A thoroughly mild, easily digestible sitcom that unfortunately dips into Disney Channel levels of saccharine too often to merit a recommendation. It’s a hard show to hate, but without Elba to anchor it, it’d be so lightweight, it’d disintegrate in the air like a dandelion.
  7. It’s often laugh-out-loud funny, and the cast has instant comedic chemistry. It also mines a lot of laughs by reveling in gaudy ’80s nostalgia: floppy disks and shoulder pads, the aforementioned stretch Lamborghini (aka a “Lambo limo”) and a robot butler who dutifully fetches cocaine. But there are hints of melancholy around the edges, too, and a plot twist at the end of the pilot that actually adds a level of intrigue to what follows.
  8. It’s safe to say that Season 3 improves on that mess [Vince Vaughn’s Season 2 performance], but it still registers as a mild disappointment, all things considered.
  9. There’s a lot more afoot in Season 2--and that’s a good thing.
  10. Like many limited series these days, Dannemora probably could stand to be shorter; it stalls out and loses momentum in the middle episodes before ramping back up for the final installments. But there’s a lot of rich psychological ground to cover here, and Stiller and his actors patiently sift through every bit of it.
  11. There’s not a lot of nuance to be found here, with any trace of psychological depth replaced by cheesy love montages and paint-by-numbers confrontations. We’re given no sense of why Debra is making these terrible decisions... over and over and over again.
  12. Serious weight is given to mundane moments with other, seemingly more substantial ones ending before they began. Everything just feels a little… off. And yet, amid the choppiness, I found myself mostly engrossed in what was happening--and the reason for that is Wright. ...The actress now goes it alone and more than rises to the occasion.
  13. It takes a few episodes for Homecoming to start showing its cards, and the focus is on unspooling the mystery rather than building the characters, so emotional depth is sometimes sacrificed in order to keep the narrative freight train chugging along. But it is an awfully good mystery, after all, with each episode lasting just long enough and teasing us just enough to keep us hooked.
  14. Sabrina is still working on finding the ideal balance between gruesome horror and soapy teen drama, and occasionally wobbles a bit in the process. (If anything, the scale tips too far towards horror at times. This is the first show I can remember that presents Satanism as a valid lifestyle choice.) But when it’s clicking on all cylinders, its intoxicating mix of supernatural thrills and deadpan one-liners approaches the heights of Buffy the Vampire Slayer
  15. The [series’ writers Bruce Helford, Bruce Rasmussen and Dave Caplan] struck what felt like the perfect balance between darkness and light, while also being respectful--almost reverential at times--to the character of Roseanne. But make no mistake: While The Conners is packed with poignant and tearful moments, it’s mostly really, really funny.
  16. It does not improve, and just keeps hammering the same tired joke over and over again. It’s a colossal waste of everyone’s time and talent. Cringe humor without the humor is just cringing.
  17. The ensemble has held together nicely in the two decades since. ... When it comes time to take aim at today’s political landscape, Murphy Brown misses its target. ... The revival’s strongest asset, actually, is Murphy’s relationship with her now-adult son Avery (Jake McDorman).
  18. Michael Cudlitz has a few nice moments as gruff but tenderhearted dad Mike, but ultimately, the show isn’t funny or heartwarming enough to overcome how familiar it feels.
  19. When it’s not burying us in an avalanche of creaky sitcom clichés, it’s creeping us out with inappropriate sex jokes.
  20. The jokes could use some polishing, and the concept could easily grow old in a hurry, but the trio of Wayans, Stevens West and Mallard nudge this one a solid notch above your average network sitcom.
  21. A quality cast does its best, but can’t salvage the cringe-worthy dialogue and paper-thin characterizations.
  22. It’s crass and formulaic, and a lot of the jokes boil down to “Hey, that old guy sure doesn’t act old!” But these seasoned sitcom veterans know how to sell a punchline to a live studio audience.
  23. SNL alum Taran Killam is a riot as Will, a hopelessly dorky single dad who gets taken in by a battle-tested clique of single parents who want to shake him out of his world’s-best-dad funk. The kids are cute, the one-liners have plenty of zing and the cast feels like a well-oiled ensemble already.
  24. The first hour didn’t grab me hard enough that I want to stick around to find out.
  25. Sorry for Your Loss is like a beautifully written sad song: You’re not always in the right mood to listen to it... but when you are, it can reach you in places that nothing else can.
  26. Iron Fist Season 2 marks an improvement over its well-derided freshman run, but still lacks punch.
  27. The First takes its sweet time, moving at a glacial pace and staying frustratingly earthbound.
  28. Despite some nice touches and performances, Kidding gets stuck somewhere between comedy and drama, and isn’t entirely successful at either.
  29. Until Jack Ryan finds a way to make its drama as compelling as its action scenes, it’ll go down as a mission not quite accomplished.
  30. The early episodes are a little scattered, plot-wise, trying to juggle a multitude of narratives across several timelines, and it takes a while for the storytelling to find its footing. But the Henry Deaver and Skarsgård threads are strong throughout, and the more you learn about this town, the richer and more enthralling the story becomes.

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