Alan Sepinwall

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For 905 reviews, this critic has graded:
  • 50% higher than the average critic
  • 2% same as the average critic
  • 48% lower than the average critic
On average, this critic grades 2 points lower than other critics. (0-100 point scale)

Alan Sepinwall's Scores

Average review score: 65
Highest review score: 100 Master of None: Season 1
Lowest review score: 0 Work It : Season 1
Score distribution:
  1. Negative: 90 out of 905
905 tv reviews
    • 37 Metascore
    • 40 Alan Sepinwall
    There's potentially a good show here; the pilot's just a miss.
    • 46 Metascore
    • 40 Alan Sepinwall
    The problem is that Glory Daze itself never stakes a claim to its own identity. It's tonally all over the map--and that inconsistency gets in the way of the few potential laughs.
    • 63 Metascore
    • 40 Alan Sepinwall
    True Blood looks terrific, especially whenever it has to depict a vampire in action, as they can move almost too fast for the naked eye (but not the high-def camera) to see. But unless the thought of vampire/human love makes your pulse quicken--or, even better, makes you wish you didn't have a pulse to quicken--most of it is not really worth seeing.
    • 38 Metascore
    • 40 Alan Sepinwall
    The show plays like bad imitation noir where the private eye can occasionally sink his teeth into the villain.
    • 56 Metascore
    • 40 Alan Sepinwall
    It's formula, and while there's obviously a ton of appetite for that kind of formula in primetime (see the roster of dramas on CBS, FOX, ABC, TNT...), it's not particularly well-executed formula, and it wastes the potential of the one part of the formula that's slightly unique.
    • 37 Metascore
    • 40 Alan Sepinwall
    It's not a great sitcom, not even really a good one, and the strain of trying to sell such mediocre material will no doubt get to Garrett in a few weeks, but it's still vastly better than its companion show.
    • 48 Metascore
    • 40 Alan Sepinwall
    It's a lead performance that's completely at odds with the tone of the rest of the show, and one that makes all the other goofy things even more uncomfortable than usual.
    • 72 Metascore
    • 40 Alan Sepinwall
    The new season has a few moments, mostly involving the return from the dead of Jack's old CTU colleague Tony Almeida (Carlos Bernard), who now seems to be working for the bad guys. But all the attempts by Jack and his writers to justify every past decision often brings the action to a crawl.
    • 53 Metascore
    • 40 Alan Sepinwall
    Any show that's willing to go to such a silly place, to have its main character utter a line of dialogue that's like a parody of a parody of stuff these guys were writing two decades ago on "thirtysomething," is not a show I have time for, even if other shows won't be back until April.
    • 60 Metascore
    • 40 Alan Sepinwall
    The three episodes I've seen felt flat and airless, outside of the performance by Sam Huntington as the werewolf.
    • 45 Metascore
    • 40 Alan Sepinwall
    McKellen, and the production design, and some smart use of Brian Wilson songs on the soundtrack (The Beach Boys' "I Know There's an Answer" is the miniseries' cheeky final tune) weren't enough to overcome my need for coherence.
    • 57 Metascore
    • 40 Alan Sepinwall
    Surely, there are talented American writers not long out of their teens who could have helped craft a new group of characters and stories that reflected their own experiences - and with enough sex and drugs and mayhem to please MTV's need for extra attention.
    • 69 Metascore
    • 40 Alan Sepinwall
    You can blame Winslet, or Haynes, or both, but something doesn't fit, and it wrecks everything, above and beyond spending so much time on a story that could have been just as satisfyingly told at half the length.
    • 42 Metascore
    • 40 Alan Sepinwall
    Whatley’s quick conversion to the cause takes away what little tension there is in the partnership, and is emblematic of a larger problem. McGinn needs the people that she meets to buy into the idea of reincarnation, or else she can’t get anything done.
    • 41 Metascore
    • 40 Alan Sepinwall
    The disappointing new project from "Arrested Development" creator Mitchell Hurwitz is mainly a reminder of how much the "Arrested" cast--several of whom provide voice work here--added to that show.
    • 63 Metascore
    • 40 Alan Sepinwall
    Passmore's too bland to pull off the many dynamic emotional shifts Neil goes through, and the whole thing feels shapeless, providing little idea of how the series functions going forward.
    • 54 Metascore
    • 40 Alan Sepinwall
    Without the overwhelming nostalgia for this particular venue for Pee-wee and these supporting characters, I found The Pee-wee Herman Show on Broadway a long (close to 90 minutes) slog, cute in spots, but mainly just strange--a voyage through the fantasy life of a character I prefer to see fending for himself in a closer approximation of the real world.
    • 48 Metascore
    • 40 Alan Sepinwall
    Running Wilde is, simply, not very funny. That's unfortunate, but no unforgivable sin. Funny people occasionally make unfunny things. But it's the way that it isn't funny.
    • 60 Metascore
    • 40 Alan Sepinwall
    A well-meaning but deeply flawed exercise in nostalgia.
    • 43 Metascore
    • 40 Alan Sepinwall
    It's an hour of unpleasant yet bland people occasionally bumping into each other and saying racially provocative things.
    • 74 Metascore
    • 40 Alan Sepinwall
    Episodes isn't even as funny as Crane and Klarik's last collaboration, the exceedingly mediocre short-lived CBS comedy "The Class" - and that's even considering that the new show features Crane's old "Friends" star Matt LeBlanc delivering a terrific performance as an exaggerated version of himself.
    • 66 Metascore
    • 40 Alan Sepinwall
    It's a very straightforward, sincere, dull accounting of all the trouble caused by Rodrigo, son Cesare (Francois Arnaud, frequently nude), daughter Lucrezia (Holliday Grainger) and company cause with their newfound power and station.
    • 45 Metascore
    • 40 Alan Sepinwall
    If "Donnellys" wants a shot at doing better than "Studio 60" in its timeslot, it needs at least a hint of a larger-than-life figure.
    • 51 Metascore
    • 40 Alan Sepinwall
    A work in progress.
    • 45 Metascore
    • 40 Alan Sepinwall
    Addison isn't very strong or decisive in her professional capacity either, spending most of the pilot waffling on whether she should have left Seattle Grace.
    • 37 Metascore
    • 40 Alan Sepinwall
    There's some amusing material on the margins of the show--the guys use OnStar to settle a debate about the lyrics to a song on the radio, Dougie admits his marriage isn't perfect and his wife "sometimes she gets up in the middle of the night and bakes in her sleep"--but outside of Jerry Minor's winning performance as the overextended but always cheerful Aubrey, it's completely forgettable.
    • 63 Metascore
    • 40 Alan Sepinwall
    New Amsterdam is essentially three shows in one: Amsterdam flashing back on all the exciting things he's done in the last 366 years; Amsterdam trying to find The One, and Amsterdam and partner Eva Marquez (Zuleikha Robinson) solving murders like the leads on some kind of supernaturally-charged "Law & Order" spin- off. But only the first of those shows is remotely interesting.
    • 39 Metascore
    • 40 Alan Sepinwall
    Mental was produced on a relative shoestring by Fox Telecolombia, and there's a flatness not only to the sets (which look not unlike what you might see on a Univision show), but the dialogue and characterizations.
    • 31 Metascore
    • 40 Alan Sepinwall
    [Of the two new soaps,] only "Fashion House" seems to understand that it's supposed to be a guilty pleasure.
    • 63 Metascore
    • 40 Alan Sepinwall
    Traffic Light winds up with a negative hat trick, in which I found myself not caring about any of its three male leads, though I did like one of their female co-stars and several of the guests who popped up in the episodes I've seen.
    • 38 Metascore
    • 40 Alan Sepinwall
    It's all incredibly broad, and lacking in any real point of view.
    • 62 Metascore
    • 40 Alan Sepinwall
    The tone never feels right, as if we're watching a dark parody of the Muppets--say, "Greg the Bunny"--that for some reason is starring the genuine article.... There are a few funny moments here, and Prady's both a smart writer and a flexible one.
    • 52 Metascore
    • 40 Alan Sepinwall
    The show is so self-conscious of everything it’s doing that nothing has quite the effect its creators want it to have.
    • 69 Metascore
    • 40 Alan Sepinwall
    The new show doesn't feel like a clone, but it also seems to be missing the spirit of what made the original such a success. [23 Sep 2002]
    • Newark Star-Ledger
    • 77 Metascore
    • 40 Alan Sepinwall
    In an ideal world, Katims and Nutter would have taken the best elements from their previous series: the keen insight into teen behavior of "My So-Called Life" and the inventive storytelling of "The X-Files." Unfortunately, Roswell gets it backwards, using both the self-importance of the former and the paper-thin characterization of the latter. [6 Oct 1999, p.73]
    • Newark Star-Ledger
    • 66 Metascore
    • 40 Alan Sepinwall
    What might have felt like a novel idea 10 or 15 years ago--middle-aged white anti-hero does something terrible to help his family, and only gets pulled in deeper and deeper--is now so tired that it would require sheer brilliance to come out feeling as fresh and untainted as all the money that Marty cleans. And Ozark isn’t up to that challenge.

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