Alan Sepinwall

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For 826 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 2.1 points lower than other critics. (0-100 point scale)

Alan Sepinwall's Scores

Average review score: 64
Highest review score: 100 Orange is the New Black: Season 3
Lowest review score: 0 Work It : Season 1
Score distribution:
  1. Negative: 85 out of 826
826 tv reviews
    • 64 Metascore
    • 75 Alan Sepinwall
    The Shannons overall are about the last reason I would recommend this show, after the cool visuals, some effective action set pieces and the expected strong supporting performance by Stephen Lang.
    • 63 Metascore
    • 75 Alan Sepinwall
    It's a solid, meat-and-potatoes police procedural, and one that could potentially evolve into more depending on how the flash-forwards are used down the road.
    • 64 Metascore
    • 75 Alan Sepinwall
    It's more likable than funny, but it has a very clear sense of what it wants to do and how it wants to frame its star.... There's abundant chemistry between Fox and Brandt, between Fox and Juliette Goglia as his teenage daughter, and between Fox and Wendell Pierce as his boss at the TV station.
    • 70 Metascore
    • 75 Alan Sepinwall
    The plot is mostly gibberish.... But the language is wonderful, the performances excellent, and the direction by Bayona so fluid and gorgeous that I found the whole thing a treat even as I quickly lost interest in whatever it is all these people are working together to accomplish.
    • 60 Metascore
    • 75 Alan Sepinwall
    HBO's other new Sunday comedy Insecure is more consistent and sure of its voice, but I laughed a lot more watching Divorce, even as I kept feeling frustrated that it didn't seem willing to fully embrace the awfulness of its premise, or its entire cast of characters. To be as good as it can be, it has to be more willing to be bad.
    • tbd Metascore
    • 75 Alan Sepinwall
    The third episode finally seems to kick the season into gear, not only finding an unexpected place to take the Chuck/Morgan story, but doing the best job of exploiting a guest star.
    • 58 Metascore
    • 75 Alan Sepinwall
    Based on the three episodes I've seen, there's a lot of potential here, and an interesting blend of self-contained and long-form storytelling.
    • 64 Metascore
    • 75 Alan Sepinwall
    The formula doesn't always work (insert memories of your least favorite "Grey's" story arc here), but when it does, Rhimes is as successful at tugging for the heartstrings as anyone in the business.
    • 83 Metascore
    • 75 Alan Sepinwall
    Downton in season 3 is still a soap opera (as it was in season 1, as well), but it's a smarter one; it's harder to see the puppet strings Fellowes is pulling this year to get to his desired outcomes.
    • 63 Metascore
    • 75 Alan Sepinwall
    This is definitely promise ring material.
    • 78 Metascore
    • 75 Alan Sepinwall
    Overall, Manhattan makes its intentions fairly plain, including its desire to evoke other historical dramas about brilliant but prickly men.
    • 65 Metascore
    • 75 Alan Sepinwall
    If Jane Timoney continues to be an interesting character--and if the characters around her become three-dimensional enough to stand plausibly with or against her--then this could hearken back not only to the original "Prime Suspect," but "NYPD Blue," "Homicide," etc.
    • 72 Metascore
    • 75 Alan Sepinwall
    If you're not meant to think too hard about what's happening, then "Sons" largely succeeds at its goals, particularly given the performances, the direction (led by Emmy winner Paris Barclay) and Sutter and his writers' talent for crafting gut-wrenching individual moments.
    • 71 Metascore
    • 75 Alan Sepinwall
    There are meta layers within layers here (it's almost disappointing HBO's current executives don't play themselves), but the end result is a sequel that feels very true to the spirit and style of the original.
    • 74 Metascore
    • 75 Alan Sepinwall
    If you're expecting the nuanced characterization and complex themes of some other period cable dramas of the 21st century, 'Klondike' will leave you wanting. If you're just asking for an entertaining adventure story with impressive visuals and a solid cast, it does the job.
    • 69 Metascore
    • 75 Alan Sepinwall
    Even without enough of the Jodie scenes to provide emotional support to the thriller plot, the miniseries' concluding hour is very strong, and actually improves on a few aspects of the book.
    • 77 Metascore
    • 75 Alan Sepinwall
    There's a richer, more artistically ambitious version--possibly, but not necessarily, involving magic realism--of this story still waiting to be told, but the basic competence of Narcos is enough for now.
    • 70 Metascore
    • 75 Alan Sepinwall
    As comedy pilots go, it's not an instant classic--though those are far more rare in comedy than drama(*)--but there are enough promising signs, both on-screen and off, to suggest it can get there in time.
    • 65 Metascore
    • 75 Alan Sepinwall
    Even if the vibe on the whole is very retro (the show could air in the '80s and '90s, and the only notable change would be more primitive special effects-- but in the moment, the most compelling parts are about how the missions impact the characters personally, whether through the people they meet in the past, or the way their actions alter the present.
    • 82 Metascore
    • 75 Alan Sepinwall
    The story never entirely comes together, but it's so much fun watching the supporting cast that coherence almost seems besides the point.
    • 73 Metascore
    • 75 Alan Sepinwall
    Arrow is a competently-made superhero drama with an appealing lead performance from Stephen Amell.
    • 64 Metascore
    • 75 Alan Sepinwall
    A sharper, more thoughtful, and just plain funnier version of the kind of retro multi-cam sitcom "Mr. Robinson" was trying to be.
    • 73 Metascore
    • 75 Alan Sepinwall
    In a vacuum, the series is a solid, if not thrilling, piece of classic science fiction, exploring questions about the line between man and robot, whether computers can have souls, and whether mankind is destined to be rendered obsolete by the machines we're creating.
    • 70 Metascore
    • 75 Alan Sepinwall
    Live Another Day may ultimately set off every clich├ęd minefield the show tripped over the previous eight seasons, but the time commitment is so much shorter that I can enjoy the show's strengths (Jack, his relationship with Chloe, the action set pieces) without getting too bummed out by its weaknesses if they wind up persisting like always.
    • 68 Metascore
    • 75 Alan Sepinwall
    Berry provides (pardon the pun) enough gravity to make Extant feel like a genuine work of science fiction, rather than a soap opera dressed up in sci-fi drag, which happens too often on the broadcast networks.
    • 78 Metascore
    • 75 Alan Sepinwall
    At this stage of things, The Good Place is more often clever-funny than haha-funny. Thankfully, it's really forking clever, not just in all the little details of how the Good Place functions, but in the way it gradually reveals all the things wrong with the neighborhood beyond Eleanor's presence.
    • 85 Metascore
    • 75 Alan Sepinwall
    Absorbing in fits and starts, but ultimately so didactic and, especially, humorless that I'm probably comfortable leaving the story--and the series--here.
    • 79 Metascore
    • 75 Alan Sepinwall
    The show as a whole moves briskly and confidently.
    • 71 Metascore
    • 75 Alan Sepinwall
    Through five episodes, there's an awful lot of excess in Vinyl, which perhaps makes sense for a show involving two icons of '70s rock in Jagger and Scorsese. But all of Richie's searching for the next idea, and all of the scenes involving the Nasty Bits or other rising forms of music, suggest a show that really wishes it could strip away all the glam and all the tropes and just do something simple and raw and powerful.
    • 77 Metascore
    • 75 Alan Sepinwall
    The pacing is wobbly, and while the actors all seem period-appropriate (Davalos, whose previous series was TNT's '40s crime drama "Mob City," is a graceful acting time traveler), the only character who really comes to life as more than a functionary of the plot is one of Spotnitz's creations: Obergruppenf├╝hrer John Smith (Rufus Sewell).... Still, the world itself is fascinating and fully-realized enough to compensate for the people who live there.

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