TVLine's Scores

  • TV
For 165 reviews, this publication has graded:
  • 56% higher than the average critic
  • 2% same as the average critic
  • 42% lower than the average critic
On average, this publication grades 0.7 points higher than other critics. (0-100 point scale)
Average TV Show review score: 67
Highest review score: 100 Grease: Live
Lowest review score: 16 Man With a Plan: Season 1
Score distribution:
  1. Mixed: 0 out of 106
  2. Negative: 0 out of 106
106 tv reviews
  1. This detachment from reality effectively neuters the show’s myriad soapy storylines — ranging from financial woes to extramarital escapades — giving the whole thing an unfortunately low-stakes vibe.
  2. There’s nothing incredibly groundbreaking and innovative about any of this… but there doesn’t really need to be. It’s a cute, lighthearted throwback that goes down easy in an era of tough-to-watch dramas, and like The Mindy Project, it doubles as an affectionate tribute to classic rom-coms. The cast’s quick chemistry is remarkable, too.
  3. It feel like no time has passed since our last visit to Neptune, Calif. ... At no point in the eight episodes did it feel like series creator Rob Thomas had run out of story.
  4. Mainly what you’ll be doing when you’ve finished your binge is trying to catch your breath (the finale is epic with a capital E, P, I and C), drying your eyes (it’ll also give you feels that you never even knew were feels) and wondering whether you’ll remain on the edge of your seat all the way until Season 4.
  5. Euphoria is admittedly better at establishing a distinctive mood and style than at telling a story, at least early on. ... But Euphoria‘s exhilarating style and achingly incisive observations more than make up for any storytelling flaws it might have.
  6. If anything, Season 2 only gets richer as it digs deeper into these ladies’ lives. ... Savor this while it lasts, folks: This is as good as TV gets.
  7. Sorry, Miley, but your Black Mirror is the weakest of the bunch. [C-]... The twist [in "Striking Vipers"]is genuinely shocking and opens up a number of intriguing storytelling avenues, and the acting is solid. ... But after the initial shock wears off, the episode just kind of plods along, and the ending feels too easy for such a complicated premise. [B] ... ["Smithereens"] is Scott’s episode from start to finish: a harrowing portrait of a man pushed firmly and irretrievably over the edge. [A-]
  8. The series does boast a breakout performance from newcomer Ashleigh Cummings. It’s just too bad that nothing else about the show lives up to that performance. Instead, any flickering glimmer of quality gets smothered by a drab visual palette, sluggish plotting and a crushingly dour tone.
  9. I ended up liking it so much, I felt compelled to spread the gospel. All you Broad City and BoJack fans out there? Fly, don’t walk.
  10. L.A.’s Finest is a loud, dumb mess of a cop drama, loaded up with corny punchlines and incoherent plotting.
  11. It’s an odd blend of tones that doesn’t always work, but the smart, spiky humor and standout performances from stars Christina Applegate and Linda Cardellini combine to make it a satisfyingly offbeat binge.
  12. 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.
  13. 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.
  14. Boiled down to its essential elements, Hanna is a bland fish-out-of water tale punctuated by short bursts of sudden violence.
  15. 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.
  16. 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.
  17. 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.
  18. 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.
  19. 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.
  20. There’s a lot more afoot in Season 2--and that’s a good thing.
  21. 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.
  22. 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.
  23. 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.
  24. 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.
  25. 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
  26. 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.
  27. 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.
  28. 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).
  29. 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.
  30. When it’s not burying us in an avalanche of creaky sitcom clichés, it’s creeping us out with inappropriate sex jokes.

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