Las Vegas Weekly's Scores

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For 148 reviews, this publication has graded:
  • 8% higher than the average critic
  • 2% same as the average critic
  • 90% lower than the average critic
On average, this publication grades 16.9 points lower than other critics. (0-100 point scale)
Average TV Show review score: 50
Highest review score: 80 The Marvelous Mrs. Maisel: Season 1
Lowest review score: 20 Scream Queens: Season 1
Score distribution:
  1. Positive: 21 out of 21
  2. Mixed: 0 out of 21
  3. Negative: 0 out of 21
21 tv reviews
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  1. Roadies: Season 1
    Instead of sounding passionate and honest, the characters on Roadies sound like they’re reading promotional copy for the artists who appear as guest stars.
  2. The Assassination of Gianni Versace: American Crime Story: Season 1
    A manipulative sociopath and compulsive liar, Cunanan is a tough protagonist to invest in for nine episodes, and while Criss makes him suitably unsettling, the show too often skews more toward the sleazy excesses of a ’90s erotic thriller than the methodical refinement of something like The Talented Mr. Ripley.
  3. Taboo: Season 1
    Hardy and his collaborators have tapped into some of the atmosphere of Dickens, but at this point they fall short of his characterization and storytelling abilities.
  4. Aquarius: Season 1
    Too much about Aquarius is boilerplate cop-drama material; by the second episode, Shafe and Hodiak are investigating other cases while the Manson plot plays out over the long term.
  5. 11.22.63: Season 1
    Although there are moments of suspense when Jake gets close to major historical events, nothing (including the obligatory twist ending) is quite enough to shake the feeling that the series is just a really, really long Twilight Zone episode.
  6. BrainDead: Season 1
    The Kings deserve credit for taking a risk and not just putting out another legal drama, but if anything BrainDead isn’t weird enough. By hedging its bets, it ends up in an awkward middle ground between straightforward drama and something more original.
  7. Childhood's End: Season 1
    Even in its special effects, Childhood’s End looks chintzy and unimaginative.
  8. Marvel's Inhumans: Season 1
    At best, Inhumans resembles a mediocre ’90s syndicated genre series, and blowing it up to IMAX size just puts a bigger spotlight on the flaws.
  9. The Casual Vacancy: Season 1
    It’s far too dreary to be a comedy, and its social commentary is often blunt and ineffective. Worse, the narrative has no momentum, spending three hours on the tedious minutiae of relationships among more than a dozen characters, most of whom are barely fleshed out.
  10. Shades of Blue: Season 1
    These cops are not even particularly good at corruption, with Harlee and her colleagues frequently making up clumsy lies that instantly fall apart, in order to cover their tracks from previous, flimsy fabrications. The subplots about the other detectives in the unit (aside from Harlee and Woz) are especially thin, and anything about the characters’ personal lives is a tedious waste of time.
  11. Son of Zorn: Season 1
    The deliberately rudimentary animation mixes poorly with the more sophisticated live action, so that any character interacting with Zorn is very obviously an actor talking to an empty space. That’s also part of the joke, but like all of the humor in the show, it gets old before it even comes around the second time.
  12. The People v. O.J. Simpson: American Crime Story: Season 1
    It’s more interested in exploring, often inelegantly, issues of race and class, big ideas that get steamrolled under Murphy’s usual bombastic production style (his main contribution as a director is a lot of distractingly swooping camera moves).
  13. Flaked: Season 1
    Flaked offers up weak jokes and even weaker drama, as later episodes pile on contrived, overwrought plot twists.
  14. Will & Grace (2017): Season 1
    When it premiered in 1998, Will & Grace was groundbreaking for its matter-of-fact depiction of the friendship between a gay man and a straight woman, even if its sitcom rhythms were already somewhat played out. Those jokes and storylines have only gotten weaker with age, and what was once a trailblazer is now left far behind.
  15. Billions: Season 1
    Any meaningful resonance with issues of financial inequality and government collusion loses out to bitchy backstabbing and awkward celebrity cameos.
  16. Sense8: Season 1
    It’s a worldwide story that manages to look and feel completely mundane, with boring visuals and inconsistent performances.
  17. The Odd Couple (2015): Season 1
    The result is tiresome and forgettable, which makes it perfect filler for CBS’ Thursday-night lineup of popular but moronic sitcoms.
  18. Hand of God: Season 1
    Hand of God’s bleakness doesn’t serve any greater purpose, and all the bluster says nothing about the nature of faith or revenge. Like its main character, the show ostentatiously wallows in sin and then tries to pass it off as genuine redemption.
  19. Happy!: Season 1
    Happy! has a cartoonish sensibility more suited to drawings than live action. The more it strains to be edgy and shocking, the more laughable it becomes.
  20. Baskets: Season 1
    Chip’s sad life is neither funny nor moving; it’s just a parade of discomfort, for both the characters and the audience.
  21. Rush Hour (2016): Season 1
    Rush Hour isn’t particularly funny, and there’s nothing exciting about its familiar crime-drama structure. Without unique star power to carry it, it’s just another dull procedural on a network already filled with them.
  22. Blunt Talk: Season 1
    Walter’s colleagues are just as depraved as he is, but their issues feel forced, more about crass, envelope-pushing jokes than character development. Stewart dives into his role with admirable gusto, but the show around him isn’t worthy of his talents.
  23. Preacher: Season 1
    By the end of the fourth episode, the plot starts to show slight signs of life, but there’s nothing to indicate that the show will capture the energy and creativity of the source material that should set it apart.
  24. Grace of Monaco: Season 1
    It’s not a particularly convincing storyline, nor does it offer much insight into Kelly as a person outside of this limited time period. Kidman’s aloof demeanor has a regal quality, but she fails to capture Kelly’s humanity (Dahan’s reliance on extreme close-ups is poor compensation).
  25. The Late Late Show with James Corden: Season 1
    Corden is inoffensive and upbeat, so it’s hard to hate him, but it’s hard to imagine him building a dedicated following, either. Unlike Ferguson, who made his little corner of late night into something unique, Corden is just marking time until viewers fall asleep.
  26. Sex&Drugs&Rock&Roll: Season 1
    As a music-industry story, Sex & Drugs is confused and outdated, with irritating, one-dimensional characters and self-consciously edgy humor. Like its protagonist, it’s mostly a sad relic straining to appear hip.
  27. Ferrell Takes the Field: Season 1
    Since it’s set up to promote Major League teams and Ferrell’s charity efforts, the show can’t take any serious satirical jabs, so instead Ferrell makes a few blandly humorous comments, and the rest of the running time is filled with some slick game-play footage and lots of high fives.
  28. Moonbeam City: Season 1
    Moonbeam City certainly nails the aesthetics of cheapo ’80s cartoons and the cadence of bad cop dramas, but its jokes are weak and repetitive, coasting on their delivery by a voice cast full of celebrities.
  29. American Gods: Season 1
    While the heavily stylized sex and violence can look beautiful, it’s often just as grim and ponderous as the dialogue and pacing. Only late in the fourth episode does the story begin to coalesce, but by that point it’s likely that anyone who wasn’t a fan to begin with will have long since tuned out.
  30. The Last Tycoon: Season 1
    [The Last Tycoon is] full of awkward, hokey dialogue and clumsy contrivances. Even the production values are mediocre; the occasional clips meant to replicate ’30s-era movies are especially phony and unconvincing. Fitzgerald based Monroe on real-life studio executive Irving Thalberg, but the show has Thalberg appear as a separate character, and the consistently ineffective mix of real and fictional characters highlights how poorly the series captures such a fascinating world.
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