TVLine's Scores

  • TV
For 364 reviews, this publication has graded:
  • 59% higher than the average critic
  • 2% same as the average critic
  • 39% lower than the average critic
On average, this publication grades 1.5 points higher than other critics. (0-100 point scale)
Average TV Show review score: 69
Highest review score: 100 Will Trent: Season 4
Lowest review score: 16 Twin Peaks: Season 1
Score distribution:
  1. Mixed: 0 out of 242
  2. Negative: 0 out of 242
242 tv reviews
  1. It’s a real high-wire act, blending teen soap, a murder mystery, biting humor and a beloved franchise. But Aguirre-Sacasa and uber-producer Greg Berlanti (who, with NBC’s Blindspot and The CW’s superhero lineup, seemingly has the magic touch these days) manage it all in surprisingly nimble fashion.
  2. While it displays some dazzling visual flair and is plenty ambitious in its scope, like a certain famous Scarecrow, this ponderous revamp doesn’t seem to have much of a brain at all.
  3. [A] very successful revival of one of TV’s all-time great series. A sequel that actually exceeds our expectations? Now that’s something to be thankful for.
  4. It’s a lot of money spent in service of a show that’s not very good. It’s well-intentioned, but Mad Men already chronicled this era with much more skill and subtlety.
  5. If The Great Indoors can maintain a balance of smart, and not tired, barbs lobbed between “the human version of dial-up” and the “stupid twentysomethings” with whom he must now work, there surely is a show here.
  6. The whole enterprise just feels very phoned-in. LeBlanc appears mostly disinterested during his scenes, and the script doesn’t bother to give Adam any character traits beyond “a slightly less dumb version of Joey.”
  7. Fox’s new version is a vibrant adaptation that faithfully captures the spirit of the original. But... there’s also a fatal flaw here that threatens to spoil the whole party. ... [Laverne Cox is] glaringly miscast here. She doesn’t stand out from her misfit horde like Frank should. Her singing isn’t up to snuff with the rest of the cast.
  8. Divorce is raw and uncomfortable at times... but it’s also one of the best new comedies of the year.
  9. DC’s Legends of Tomorrow remains an odd bird. ... The better news is that once aboard the ship, the ensuing backstory on the Legends’ predicament tees up a rollicking, rat-a-tat recap of their off-season flitting through time.
  10. Supergirl very much plays in the same brightly colored playground as The Flash, sprinkling in nerdy nods (“Miss Tessmacher!”) with vivid action sequences. Serving up an ongoing villainous threat, though, seems to remain its storytelling Kryptonite.
  11. The Flash‘s return is a tremendous amount of timeline-tweaking fun, though the premiere closes with a gut-punch of a twist.
  12. Arrow is back with--thankfully--what promises to be one of its more grounded, grittier seasons ever. ... Perhaps the best news is that the fifth and final round of flashbacks are, one could argue, as compelling as the current-day narrative.
  13. A show like Conviction, which is fine but not terribly inspiring.
  14. Again, Daredevil, Jessica Jones and now Luke Cage take… their…… time in unspooling a 13-episode story, rarely serving up action scenes just because.
  15. Whether you’re intrigued by the characters, you’re still likely to be sucked in by the series’ mythology, a seemingly impossible puzzle that Ed Harris’ ice-cold gunslinger is dangerously determined to solve. ... In the nimble hands of the series’ creators, the disaster for which things are headed is guaranteed to be one of the beautiful variety.
  16. Season 3 lacks a certain narrative drive that the previous two seasons had, as if it’s enough to just hang out and observe these characters without any major new developments. And it mostly is--but still, there’s something missing.
  17. With emotionally resonant dialogue and top-notch performances, This Is Us should fill that Braverman-sized hole in your heart.
  18. As interesting as Bull‘s juror-research aspects are, the actual courtroom scenes are over-the-top, with witnesses arguing with lawyers (and, in one case, assaulting them) from the stand.
  19. It’s an instantly gripping premise (previously mined by Battlestar Galactica), but a tricky one to pull off, and Designated Survivor stumbles a bit in the execution.
  20. It’s almost shameless how quickly Mac plows through the “classics,” including using soot and packing tape to lift a fingerprint, and I’m still unsure of what principle he uses exactly to outwit a biometric scanner. But these quick fixes remain a good part of the fun. ... It deviates from the comparatively “lone wolf” nature of the original, though that’s not necessarily to its detriment; it simply makes it more familiar, CBS procedural-y.
  21. This is all perfectly interesting. It just isn’t... compelling.
  22. NBC’s breezy new comedy The Good Place manages to tackle thorny issues like morality and religion while still delivering the most laughs of any new series this fall. In short, it’s a godsend.
  23. An intense drug deal plays out with character-based nuance, more about the personalities in the room than the chance that guns will start blazing, while an episode set largely in the holding room of a jail finds drama in the assorted, transfixing plights of one-off characters.
  24. After three-and-a-half hours of action, The Get Down‘s tone still seems to be a work in progress--not that there’s anything inherently wrong with a “hey, there’s even a kitchen sink!” melding of genres. The good news is that Ezekiel’s poetry and Mylene’s pipes are so undeniable, you’ll relate to the former’s optimistic English teacher (Treme’s luminous Yolonda Ross).
  25. For those in need of a serialized, compelling storyline, the fact that two episodes in we have no idea what Eliot will be up to on a weekly basis, and only a half of a hint of a whisper about Tyrell’s fate, has to make one wary.
  26. We’ve got multi-animal assaults, a luxury jet that would make S.H.I.E.L.D.’s Zephyr jealous, new characters and a “Phase Two” twist that has upped the stakes, putting one hero in particular in a frightful situation.
  27. The redo--in which Spelling plays the mom of a co-ed who’s fallen for a (gasp!) lesbian (double gasp!) vampire--is still solidly silly and spectacularly cheesy.
  28. While you shouldn’t look for American Gothic to enter the Emmy conversation in the history of ever, that’s simply not the point of it. If, on the other hand, you’re looking for a weird, sometimes eerie distraction that won’t require rewinding if a few lines of dialogue get downed out by the air conditioner, CBS’ newest offering might be a summer series that slays.
  29. It’s hard not to root for the Codys to get busted--or worse. And that seems like it could be a big problem for the series going forward.
  30. BrainDead manages to be intermittently intriguing just through the sheer strangeness of its premise not to mention the sparkling chemistry Winstead exhibits both with Tveit and Semine. And in a different series, Pino’s cheerful, adulterous, win-at-all-costs politico could’ve been downright fascinating. Ultimately, though, like the inside-the-beltway white matter that gets consumed by those little alien critters and winds up turning to pink goo, BrainDead goes splat under the weight of its outsized aspirations.

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