Vanity Fair's Scores

For 124 reviews, this publication has graded:
  • 44% higher than the average critic
  • 5% same as the average critic
  • 51% lower than the average critic
On average, this publication grades 2.4 points higher than other critics. (0-100 point scale)
Average TV Show review score: 69
Highest review score: 100 Dave Chappelle: 8:46
Lowest review score: 10 Insatiable: Season 1
Score distribution:
  1. Positive: 86 out of 86
  2. Mixed: 0 out of 86
  3. Negative: 0 out of 86
86 tv reviews
  1. The show’s emphasis on Sofie—and in particular, the cult she was involved with—seems to come at the expense of its desire to shed light on Australian immigration.
  2. Space Force doesn’t have quite enough story for its first 10 episodes—though these days, that’s par for the course for the first season of a streaming show. What the series does have, in spades, is a much more ineffable quality: tone.
    • 85 Metascore
    • 80 Critic Score
    Ellwood isn’t telling us what to make of all this in the context of 2020, not any more than her subjects seem able to. They simply were as they were, and A Place in Time is merely a snapshot of a particularly fertile yet myopically flawed moment of youth culture. (Most of the good ones are both.)
  3. Search Party is both over-the-top and fantastically understated. It simmers with the high drama set in motion by its first season finale, but is set in an airless world that has no space for moral reckoning.
  4. The patter of life in Stonybrook is almost strenuously amiable, full of productive lessons to learn and pretty houses in which pleasant people dwell. But within that gentle framing, Shukert and her writing staff find plenty of complexity and shading, smoothly reshaping the now slightly dated vernacular of Martin’s era into something that makes responsible sense in 2020. Again, this is a show for kids (and, yes, nostalgic adults), and its approach to that demographic’s interests is neither harsh nor dishonestly rosy.
  5. The show succeeds just fine on its own—it’s charming and clever and gives a few reasons to swoon (I suspect Anthony Turpel as Victor’s bestie will win plenty of hearts of his own). It could have represented something bigger, though, rather than standing as yet another example of Disney copping out.
  6. Strictly speaking, it works better than it should. There’s so much sunk into the production that the world of the show really comes alive, and the mystery is engrossing and unpredictable. ... . But the story doesn’t let us into [Sister Alice (Tatiana Maslany) and her controlling mother's] interior lives quite enough. It’s a glaringly deficiency, because the series spends altogether too much time wading in the shallows of the men’s feelings—be it Perry, E.B., or one of the dozen-odd suits that end up holding significant information.
  7. Can a comedy set win a Pulitzer? ... More of an eloquent volcano of social criticism than a typical set. His storytelling and natural charisma make the monologue riveting, enraging, inspirational and, to those who still don’t understand what’s going on, informative.
  8. It’s a wild balance to strike, and if the show can’t quite keep all its plates spinning at once, it makes the moments where the show comes together pop with exceptional clarity. At its best, I May Destroy You ruffles your feathers unpleasantly, creating moments that trigger an urge to laugh uncontrollably commingled with a sense of spreading unease.
  9. There’s something loving about this homage.
  10. Love Life manages to wrestle some piquant insights out of its limited constraints. The writing is keen to the subtle pleasures and indignities of sex and love, the frustrations that arise out of regular problems rather than the outsized absolutes so often created for TV. ... Kendrick is more compelling in the serious moments than she is with the funny stuff, as is true of the show on the whole.
  11. It manages to balance irony with sincerity, without tipping into snideness or whatever overblown tone Ultimate Tag is going for. It’s airy, but has a minor sense of stakes.
  12. Ultimate Tag never achieves Ninja Warrior’s beguiling momentum. The game is too easy and over too quickly; contestants and taggers alike are too often thwarted by walls, by the limited constraints of the show. ... The show is so strenuous in its titans-clash, tough-guy American branding that it lumbers past stupid fun and into irksome and awkward, a lot of flash and rumble over something that’s just not all that exciting to watch.
  13. What follows is a soapy, ambitious sci-fi season that takes big swings and follows through, engaging with not just class struggle but also leadership, loyalty, compromise, and coalition.
  14. Though I found much of I Know This Much Is True to be a gloomy slog—turns out I was not one of the people looking for a story of illness and regret at this particular juncture—it does, in Cianfrance’s careful hands, eventually arrive at a bleary poignancy.
  15. The series presents life as something that happens simultaneously with music—not just adjacent to it, but surrounded by it. Refreshingly, the camerawork tells the story without gimmicks—no slo-mo, no flashbacks, no dream sequences. The result is that time, too, seems to be composed of music, moving forward at the same tempo.
  16. If some of the first season’s more patient character mapping—and its satiric depiction of wealthy SoCal malaise—is missed in this new run of episodes, that’s made up for by an onslaught of propulsive charm. It’s not hard to keep moving with Jen and Judy, because they keep the pace so well.
  17. Parks and Rec delivered to its fans what the show is famous for: Hope, sweetness, enthusiasm, and light comedy.
  18. Some episodes, Hollywood is a sweetly placating Tinseltown fantasy. Others, it’s a grim nightmare about a bitter town and a bitter era. Those two halves never quite fuse together, leaving Hollywood stranded between its poles. It’s intermittently engaging, but often curiously off-putting, an undone dish of conflicting tastes.
    • 83 Metascore
    • 80 Critic Score
    As good as the show is at portraying romantic relationships—and it’s very good; ecstatic sex, featuring people at all points of the sexual spectrum, is a Vida trademark—these last six episodes are even better when they home in on the Hernandez sisters.
  19. This is perhaps the rare mini-series that should have been a movie, rather than the other way around. All the good is packed in at the end, and it takes seven lugubrious hours to get there.
  20. Beyond illustrating the angst of their mutual attraction with a thousand penetrating angles, Normal People’s TV adaptation fails as both an adaptation and as a standalone show. Without the details of the book, the story is featureless erotica, 12 episodes of two gorgeous people struggling to handle the implications of their ferocious attraction. ... The series strips Rooney’s novel of much of the tone and detail that makes Connell and Marianne worth reading about.
  21. A breezy, delightful season of television, practically built for quarantine marathon-watching. Its twists are fairly predictable, and its drollery is openly derivative of other teen hits—Riverdale, Glee, and Sex Education, in particular. But you don’t watch something like this because it’s innovative; you watch it because it feels good to consume as much of it as possible.
  22. Too Hot to Handle is terrible—shoddily made and deeply uninteresting. The contestants are all bores, all clearly out to boost their influencer clout, and are awful at the game of reality show pretending. ... This is sub-basement reality TV, hastily made with the worst kind of cynicism—the one that assumes us dumdums will gulp down whatever slop we’re fed.
  23. If only the show was as fun as that premise suggests. It gets there, at times, when its silliness mingles well with the propulsive sweep of its world-building.
    • 78 Metascore
    • 80 Critic Score
    What We Do In The Shadows is exactly what you want a high-concept sitcom about Staten Island vampires to be: funny, fast, unpretentious, and dumb in the very best possible way.
  24. Run is distinctively Jones’ voice, but it has a lot of what made Waller-Bridge’s work so popular: dark humor, unstable chemistry, razor-sharp editing, and a narrow focus on the contradictions of human intimacy.
  25. The show is committed to fascinating female characters—and it’s particularly rewarding to watch Oh perform her character’s deep grief and despair, lending surprising dignity to her disheveled sweatpants and plastic bags. But something about the humor skews horribly wrong. Villanelle has become so murderous that it's difficult to enjoy her humor. ... Killing Eve feels safe.
  26. With astonishing nuance, Mrs. America pulls together the threads of the feminist movement at this moment, noting the discord between some and the rapport between others. The series really sings once it’s populated by these other characters—each singularly appealing, each attempting to define marriage, feminism, and the movement for themselves as they go.
  27. There is a good deal of flaunting going on, but the designers rise to the occasion. ... We’ve seen these beats before, just not in this swank new setting. It’s comforting and fresh, a zhuzing up of a tried and true formula. The same is true of the judges.

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