For 1,293 reviews, this critic has graded:
  • 63% higher than the average critic
  • 3% same as the average critic
  • 34% lower than the average critic
On average, this critic grades 1.5 points higher than other critics. (0-100 point scale)

Verne Gay's Scores

Average review score: 70
Highest review score: 100 The Strain: Season 1
Lowest review score: 0 The Choice: Season 1
Score distribution:
1293 tv reviews
    • 78 Metascore
    • 88 Verne Gay
    [Midge] needs to grow, or at least her stand-up routine does beyond the tame gags about her ex-husband or Jewsih guilt. Those remain the weakest part of "Maisel." ... These early episodes do certainly play to "Maisel's" considerable and well-established strengths. They're a romp through the English language, abetted by actors who remain effortlessly up to the challenge. As always, the writing and those performances are still what resonate, and they're just about flawless
    • 69 Metascore
    • 75 Verne Gay
    Every screen shot locks you comfortably into the familiar "Star Wars" canon, but somehow it all feels fresh and new. ... "The Mandalorian" feels like a trip worth taking with them.
    • 85 Metascore
    • 100 Verne Gay
    It's what we do with our character that matters. This season— magnificently—reveals what Elizabeth has done with her's. You will be blown away. At least I was.
    • 68 Metascore
    • 63 Verne Gay
    Exhaustive without ever being quite comprehensive, "Death" is still a solid, sane overview.
    • 66 Metascore
    • 50 Verne Gay
    Steinfeld is good, the cast too and the show is not terrible either. What it's forgotten is that while we're all free to make Emily Dickinson into whoever we want, at least make her interesting. Emily deserves as much.
    • 61 Metascore
    • 50 Verne Gay
    Mostly "The Morning Show" is a show in search of itself, uncertain of what to say about the #MeToo movement and workplace misconduct, or how to explore those real world parallels (Charlie Rose, Matt Lauer). This is because "The Morning Show" is often a mashup of verisimilitude with outright balderdashery.
    • 60 Metascore
    • 50 Verne Gay
    Mirren will get an Emmy nod for this because she's Mirren. She is a great actress, and she's certainly good here. A pity she'll get that nod for so cramped a story.
    • 72 Metascore
    • 88 Verne Gay
    Is this funny? Often, and at times, very. Is the writing sharp? Razor sharp, and in fact, there's a line later on that's draws blood it's so good, but context is important to see why. Rudd is excellent, both of them.
    • 85 Metascore
    • 63 Verne Gay
    No, this isn't your father's (or mother's) "Watchmen," but something new, occasionally thrilling too. Just not consistently so.
    • 57 Metascore
    • 50 Verne Gay
    Not bad but not subtle either, this is a broadly told story of overprivileged parents and their wounded offspring. You already know the sorry outcome.
    • 60 Metascore
    • 63 Verne Gay
    The best part of the new series is that unfussy, effortless way of getting Kate's sexual orientation out of the way, and also Kate herself. She's a bantamweight crusader with lightning moves as opposed to devastating ones. ... What's less-best is the usual reliance on the sort of story that Gotham has undergone countless times before. There are no surprises left here, not even a decent dopey headline in the still-dopey, ever-credulous Gotham newspapers (which still don't have websites).
    • 38 Metascore
    • 38 Verne Gay
    "Almost Family" is also a snooze. It sleepwalks past the issues it purports to explore, as well as the unethical, and most likely criminal, behavior involved. ... So "Almost Family" made Hutton's Bechley an almost-loveable rogue, and his offspring almost-unbothered by the almost crime he perpetrated against them and countless others. No "almost" about that. It's flat-out creepy.
    • 72 Metascore
    • 75 Verne Gay
    Whitaker and the rest of the cast are first-rate, but what's most compelling about "Godfather" are its apparent ambitions.
    • 66 Metascore
    • 63 Verne Gay
    Platt is mostly excellent, but he's not a comic actor, which is fine because "The Politician" is not exactly a comedy either. Never one to be bound by labels or genres anyway, Murphy has created a dramedy, satire, tragedy, romance, coming-of-age story and political parody, all of which contribute to viewer whiplash if not exactly ennui.
    • 65 Metascore
    • 50 Verne Gay
    Well-crafted sitcom, but Goggins takes some getting used to.
    • 61 Metascore
    • 75 Verne Gay
    Heaton nails the role because she's had so much practice at this, but "Carol's Second Act" does her — and the trope — one better, by ever-so-slightly inverting our Heaton expectations. ... Heaton is back in another "family" sitcom. As expected, a good one.
    • 57 Metascore
    • 50 Verne Gay
    Any comedy series braided with sunny idealism as this one is needs to decide what's more important: The idealism or the comedy? "Sunnyside's" pilot comes down on the side of idealism, leaving the sitcom part in some sort of listless, half-baked limboland. ... With showrunners from "Brooklyn 911" (Mike Schur) and "Community" (Matt Murray). They should figure this out. They usually do. In the meantime, the pilot has one reason to watch. Hint: It's in the title.
    • 69 Metascore
    • 63 Verne Gay
    "Emergence" is a "Stranger Things" thing. There's nothing wrong, necessarily, with being a "Stranger Things" thing, because "Stranger Things" was itself once the thing of a half-dozen '80s landmarks, like "The Goonies." But the tangents, or less kindly appropriations, here are inescapable. ... What's best about "Emergence," however, is the cast, including Faison. ... Decent "Stranger Things"-loving pilot.
    • 70 Metascore
    • 75 Verne Gay
    Solid opener and Carey's theme song is a winner, too.
    • 46 Metascore
    • 50 Verne Gay
    Formula procedural but at least a comfortable, easy-to-watch one, with a comfortable, easy-to-watch lead.
    • 83 Metascore
    • 88 Verne Gay
    A beauty with a fully realized world which seems to know where it's going and how to get there.
    • 78 Metascore
    • 100 Verne Gay
    "The Terror: Infamy" is so good and so cleanly told that it really doesn't require much of a primer before diving in, but a little background couldn't hurt.
    • 64 Metascore
    • 50 Verne Gay
    The inside jokes pile up — a few of them actually funny — and there's an undeniable pleasure in revisiting this show and this cast. Except, of course, it's not the real "show" or "cast," but a bunch of actors pretending to be themselves, and probably wondering in the meantime whether the paycheck will be worth the aggravation.
    • 49 Metascore
    • 63 Verne Gay
    Uneven start, then improves and coasts. Appealing cast, zero calories.
    • 82 Metascore
    • 88 Verne Gay
    Moving, emotional final season that hits mostly high notes, and satisfactorily resolves a whole lot of stories.
    • 74 Metascore
    • 75 Verne Gay
    There is no apology, though hardly no remorse. ... From there, "Right Now" becomes, in a comically inverted way, a plea for tolerance,for perspective shift, for a check-out-the-world (from where I stand) riff. ... Risky show, risky strategy and both pay off.
    • 72 Metascore
    • 63 Verne Gay
    Reliable, durable and comfortable, "ST3" is what you'd expect and certainly what you want, if what you "want" is seasons 1 and 2, with a few big twists along the way.
    • 78 Metascore
    • 75 Verne Gay
    What makes this series effective is that not-too-distant horizon. It doesn't play out 50 years from now, but next year, then a few years after that, and then a few beyond that. Viewers can see the roadmap, and by always keeping them within the realm of the plausible, the ambient anger and confusion feels plausible, or familiar. ... A compelling — and timely — new series.
    • 61 Metascore
    • 50 Verne Gay
    Crowe is good to a point, but "The Loudest Voice" can be root canal.
    • 60 Metascore
    • 63 Verne Gay
    Neither slop, nor the obverse (a masterpiece), "Grand Hotel" resides squarely and benignly in the middle: A pleasant summer diversion with a good and absurdly telegenic cast .

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