The Guardian's Scores

For 181 reviews, this publication has graded:
  • 34% higher than the average critic
  • 7% same as the average critic
  • 59% lower than the average critic
On average, this publication grades 0.2 points higher than other critics. (0-100 point scale)
Average TV Show review score: 67
Highest review score: 100 Line of Duty: Season 5
Lowest review score: 20 The Goop Lab with Gwyneth Paltrow: 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. What saves it from simple tedious schmaltz (notwithstanding the clambering-on-tabletops-in-solidarity scene in the cafeteria as Hilde reads out – so fearlessly! So maturely! So driven-by-the-truthly! – the online comments from under her murder report) is Prince’s performance. She is simply astonishing. You wouldn’t believe her character in any other hands.
  2. It still stands firm as a gripping thriller. It starts with the kind of bang that insists you pay attention to find out how we got here.
  3. It reminded me of 90s Prime Suspect, which is not a bad thing, but nor is it especially revolutionary to keep doing that today.
  4. There are shots of laughing children running through the idyllic landscapes, sentimental music blaring, and it teeters on being an implausibly saccharine resolution until the arrival of the real Windermere boys as they are now.
  5. Everyone involved, of course, might fare better if they had a decent script, proper lighting, well-choreographed fight scenes and sets that didn’t look as if they had been nailed together from whatever was left after Michael Keaton left the building in 1989. ... For now, though, pure and perfect trash is what we need – and Batwoman provides.
  6. Besides some great dialogue, Colla has gifted Channel 4 with a central character rooted enough to sustain several more series should this find its audience.
  7. Some of the designers really do seem like talents who just needed to step into the spotlight. But given those ingredients, it should emerge as something far more lively than the flat, lethargic show it manages to muster.
  8. The main show is the slurp of creepy, disturbing manifestations of repressed psyches coalescing into, by the later episodes, a nonsensical yet amusing horror show.
  9. It is terrible. ... Nothing has been written, shown or scored in a way to elicit any degree of human emotion.
  10. While The Letter for the King doesn’t feel like an adults’ show that kids can get away with watching, it’s also not a kids’ show that’s fun enough for adults to enjoy, with its bowdlerised fights and romance.
  11. Nicole Asher’s script does a solid job at squeezing the many details of Walker’s life into four entertaining episodes but the directors, including Harriet’s Kasi Lemmons, don’t always hit the mark. There are attempts to enliven the by-the-numbers biopic-plotting with stylish flourishes but they’re mostly always misses. ... It’s ultimately, thankfully, Spencer’s show.
  12. Feel Good should make you feel good. It’s not only an immaculately written and paced piece of work and a properly funny comedy, it is also has created a delicately and intricately constructed, deeply humane world where people make mistakes but are not damned, and have flaws that are not fatal, and – despite all the obstacles – connect across and despite their divides. It is good for almost everything that ails us.
  13. Even at its most pompous and silly, Westworld remains a thrill a second, and ironically, given that it loves a Big Question, it’s best enjoyed when not thinking too deeply about the answer.
  14. Julian Fellowes has been typing again. It is the year flimpty plomp, the pasteenth century in days of yore. ... Smash cut to 26 years later. Afternoon tea has been invented, Sophia is dead, the titular London district of Belgravia has been built (by James, in partnership with Thomas Cubitt, dontcha know) and the script is even worse.
  15. The 10-part series is technically a comedy, but it hits so many pressure points so hard in such rapid succession that if you do laugh it will be through some quite considerable anxiety and pain. I mean that as a compliment.
  16. If you can let yourself watch as a child again, the hour can become charming once more, even for those old enough to remember when the future Marty was going back to (“It’s your kids, Mary!”) was still to come.
  17. Devs is a show made on a large, seemingly expensive scale, encompassing high highs and low lows, the good and the bad and, by the end, the everything – and as such, it works and it doesn’t, aiming high and not quite landing, trying to reboot the game but giving it a slight update instead.
  18. The musical interludes are the best bits but even these are a mixed bag. ... There’s also some woefully underbaked dialogue.
  19. While the shift in focus from rape to murder is an oddly welcome relief, this time around, it feels a little more paint by numbers.
  20. Their [restaurateur Nick Liberato, chef Dennis Prescott and designer Karin Bohn] energetic positivity, relentlessly supporting and affirming each other and everyone they come into contact with, lets you relax – so long as that sort of sanitised North American gloss doesn’t set your cynical teeth on edge too.
  21. Intelligence, on the other hand, is a conventional, single-location sitcom that doesn’t have funny bones, because it doesn’t have bones at all. There are only five main characters, but three are far too faintly drawn. ... Schwimmer’s talents are wasted.
  22. In summary it sounds soapy, but in reality it is ruthlessly unsensationalist and at times deeply moving.
  23. The true pleasure of the thing lies in Lillis’s wonderful performance, which manages to convey the depths and numbness of loss beneath the layers of more ordinary teenage fury and frustration all lying beneath the traditional pose of sardonic disaffection. ... There are snippets of Daria in there, Freaks and Geeks’ Lindsay (Stanley would fit in nicely with them, too), Janis from Mean Girls and Angela Chase, linchpin of the much-lamented My So-Called Life. And you might catch the occasional whiff of Heathers, too.
  24. Every episode – which run for between 35 and 55 minutes – feels too long. ... Instead of the original series’ bleakly measured contemplation of mankind’s capacity for cruelty and evil, the reboot falls into either preachiness or schmaltz.
  25. It’s too cool and self-conscious for its own good, and seems to revel in any and all deaths on screen, regardless of whether the victims are “guilty” or not.
  26. Ultimately, Babies is a lovely inclusive celebration of humans in their most compact, adorable form that slightly irritated me. While it is exciting that babies learn and know more from a very early age than we ever thought possible, it is also stressful. And it never seems to lead to a greater valuing of parenting, which is mostly done by women.
  27. The result is a show which is sometimes grating yet sneakily beguiling, in the way that beautiful, curated messiness can be.
  28. Love Is Blind is absurd, revolting, endearing, toxic and wholesome by turns – and addictive as hell throughout.
  29. Visible does a convincing job of using TV to take the pulse of the American people.
  30. At the moment, Chris seems too good to be true, and a character put to work mostly in the service of enlightening the lead, everything else about Work in Progress suggests that this minor flaw will soon be remedied. Abby may say she feels like an eternally unfinished person, but this show is already fully fledged.

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