TVLine's Scores

  • TV
For 199 reviews, this publication has graded:
  • 55% higher than the average critic
  • 3% same as the average critic
  • 42% 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 The Conners: Season 1
Lowest review score: 16 Disjointed: Season 1
Score distribution:
  1. Mixed: 0 out of 127
  2. Negative: 0 out of 127
127 tv reviews
  1. Those of us who tune in to the other two shows in the franchise have already been here, seen this — and we’ve seen it done with greater artfulness, efficacy and urgency. Adding this third series to the rotation, even temporarily, feels more than a little bit like beating an undead horse.
  2. Murphy’s productions always tend to favor style over substance — aside from FX’s triumphant Pose, which finds the beating human heart inside its flamboyant characters — but this might be his emptiest effort yet.
  3. Woke has its goofy side, to be sure, but it’s thoughtful as well, handling thorny subject matter with a light, comical touch. It doesn’t minimize the very real issues Keef faces, but it vividly illustrates them with highly specific observations.
  4. HBO’s reboot somehow feels vitally current, with richly drawn characters, gorgeous visuals, a genuinely compelling central mystery and another terrific lead performance from star Matthew Rhys.
    • 68 Metascore
    • 75 Critic Score
    Though it doesn’t take as many bold chances as I’d hoped it would, Love, Victor does still possess an undeniable charm.
  5. While Episode 1 overexerts itself juggling multiple storylines (there’s a B-story involving a young tailie that simply vanishes for long stretches), the episodes that follow are more tightly wound as the murder case, which dominates half of the 10-episode season, takes frightful turns.
  6. Hollywood comes as a disappointment, then, in spite of its stellar cast and admirable ambitions. It’s kind of like some of the big-screen icons that rose to fame in the early days of Hollywood: plenty of gloss, but not enough substance.
  7. The four episodes I’ve seen have some narrative kinks to work out, to be sure, but the filmmaking is truly stunning at times, and it manages to capture an energy and a beauty that more polished series can only dream of.
  8. Simply put, City of Angels isn’t merely good, it’s divine.
  9. DC’s Stargirl gets off to a rousing, high-flying start, then loses some momentum when subsequent episodes open with deep-diving, Titans-style, -centric flashbacks. But by Episode 4, the stage is set for what is both DC Universe’s and The CW’s lightest, brightest, family-friendliest live-action superhero show yet.
  10. Top-notch performances from an A-list cast are Mrs. America‘s greatest selling points, but make sure to bone up on the American political process ahead of time — or you might be lost.
  11. Little Fires Everywhere, I realized, must be what watching Big Little Lies is like for people who don’t like Big Little Lies. In my eyes, though, that show managed to find a way to elevate this kind of soapy, pulpy material into something great. Little Fires Everywhere, sadly, does not.
  12. It’s remarkably in-depth and at times revelatory, but a couple of missteps keep it from being truly insightful.
  13. Garland’s singular vision is in full effect — Devs contains some of the most stunning imagery I’ve seen on TV in recent years — but unfortunately, the story gets stuck at the starting gate, bogged down by dense tech jargon and a frustratingly cryptic conspiracy plot.
  14. Harry is a classic romcom for both better and worse. ... But to quibble with Harry, when it sticks at least the first of its two landings and left even this hardhearted bastard misty-eyed, feels like the equivalent of saying that if love isn’t perfect, it isn’t worth it. It is worth it.
  15. By the time Episode 5 rolls around, with the great Parker Posey guest-starring as a kooky artist looking to unload her cheating husband’s mega valuable record collection, High Fidelity has established a funky, unassuming charm all its own. It’s kind of like your favorite local dive bar: nothing too flashy, but a reliable combination of fun people, a killer jukebox and good vibes.
  16. It’s frustrating because all of the elements are there but Interrogation unknowingly sacrifices its own quality by allowing us to choose where to go.
  17. The whole thing has decent energy, and boasts enough interesting visual flourishes that it’s tempting to let it slide by purely on style points. But it’s hard to locate the humanity buried underneath all this style. Like fellow oddballs Claws and On Becoming a God in Central Florida, Briarpatch tries to get by solely on quirk at times — but, sadly, man cannot live on quirk alone.
  18. Locke & Key isn’t at all shy about revealing Key House’s incredible secrets; it just struggles to then do much with them, instead tending to hit pause on any acquired momentum to dive back into high school dating/movie club drama. As such, things don’t really get crackling until Episode 5 or so.
  19. While it’s not entirely successful, the directing team’s approach is certainly skillful, and McMillions is definitely a fun watch.
  20. It’s a true pleasure to see Stewart in his element again, and it’s a relief that Picard has managed to build a new universe around him that we’d actually like to spend more time in. By the end of Episode 3, I was starting to feel those familiar Next Generation vibes again.
  21. A lovely and emotive series about the lives of immigrants in America.
  22. They need a strong villain to play off of, though, and generically mean rich girl Alexandra Cabot (Camille Hyde) doesn’t quite cut it. I found myself wishing for more screentime for The Other Two‘s Heléne York, who plays Katy’s bitchy coworker Amanda. She’s sharp enough to provide a worthy foil for Katy, at least… but in the world of Katy Keene, it seems, any and all sharp edges have been rounded off to a safe dullness.
  23. Really, it looks like all of the actors are having a blast filming Zoey‘s big musical numbers... but that fun never fully translates to us at home.
  24. After a somewhat lackluster Season 2, it’s a treat to see Maisel shake off its own cobwebs and show us something new.
  25. Reiser and Hunt’s veteran presence and the nostalgia factor help nudge it slightly above your standard sitcom, and maybe that’s enough to earn a spot on your holiday watch list.
  26. Left with mostly just his voice to act with, Pascal gives Mando some hints of snarkiness, if not humor; by and large, he comes off as a business-first ballbuster. (And truth be told, no one wants a quippy Mandalorian.) Weathers and Herzog fit comfortably into this world, in their brief intros, and it’d be great to see more of Nolte’s Kuiil.
  27. See relies on graphically gory battle scenes to carry a largely incoherent story, but I found myself giggling far more often than its creators intended. You almost have to admire its goofy confidence… as wrongheaded as it might be.
  28. Steinfeld is excellent as Emily, armed with a delightful, Wednesday Addams-like morbid streak. (When her sister compliments the “lovely funeral” they just attended, Emily sniffs: “Mine will be better.”) Of all of Apple’s new shows, this one actually made me want to watch a second episode, and has the kind of breakout potential that a new streaming service desperately needs.
  29. It tries to juggle too many characters at once, and doesn’t make any of them as compelling as its core concept. It’s a noble effort, and genuinely stirring at times, but I’m still waiting for it to really take flight.

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