Alan Sepinwall
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For 655 reviews, this critic has graded:
  • 47% higher than the average critic
  • 2% same as the average critic
  • 51% lower than the average critic
On average, this critic grades 2.8 points lower than other critics. (0-100 point scale)

Alan Sepinwall's Scores

Average review score: 62
Highest review score: 100 Transparent: Season 1
Lowest review score: 0 In the Motherhood: Season 1
Score distribution:
  1. Negative: 77 out of 655
655 tv reviews
    • 55 Metascore
    • 67 Alan Sepinwall
    Like many a new comedy--and new presidential administration--it needs a little time to get settled in before we can expect it to really make its mark.
    • 69 Metascore
    • 67 Alan Sepinwall
    It feels like Port, Guarascio and the other writers decided to reverse-engineer the Harmon version of Community, but couldn’t quite manage without the missing ingredient of Harmon himself.
    • 66 Metascore
    • 67 Alan Sepinwall
    The lead performances, and the way that relationship is written, are all excellent enough to stick around a little while longer in the hopes that Bates Motel as a whole becomes something more interesting. But a lot of that may also depend on what exactly Cuse and Ehrin want Norman Bates to turn into, and how quickly.
    • 57 Metascore
    • 67 Alan Sepinwall
    It's sweet in spots (mainly in scenes involving Miller's ex-con man-child trying to reconnect with his daughter), and the idea has potential, even though this is a premise pilot that has to spend so much time introducing the siblings and the competition that none of it's fully realized.
    • 72 Metascore
    • 67 Alan Sepinwall
    Despite some incredibly funny set pieces--almost all of them involving two or more of the original characters interacting in ways we instantly understand (like Buster helping Lucille deal with the conditions of her house arrest). The new season doesn't really work as its own thing, but as a prologue for this movie that no one in the industry has shown the slightest inclination towards making.
    • 60 Metascore
    • 67 Alan Sepinwall
    There's lots of snarling, lots of talk about what men are willing to do to protect or hurt one another, and yet in the early going it feels empty, like a joke being retold by someone who can't remember exactly how the guy he heard it from delivered it. The performances are terrific, though (James especially), and Dickerson shoots the Detroit locations in a fashion that captures both the beauty of the architecture and the absolute bleakness of the setting.
    • 76 Metascore
    • 67 Alan Sepinwall
    Four hours is brief enough that the joy of seeing Elba back on TV outweighs the silliness of Luther as a whole.
    • 64 Metascore
    • 67 Alan Sepinwall
    It is aware of just how ridiculous it is, and it tries to cram in as many wacky ideas as can fit into the opening hour without falling into complete camp.
    • 74 Metascore
    • 67 Alan Sepinwall
    It's a pretty shameless "Silence of the Lambs" rip-off--one scene in the pilot beat-for-beat copies the "quid pro quo, Clarice" scene where Lecter gets Clarice to talk about her childhood--but also a fun character for Spader to play, and the writers know what to have their leading man do and say.
    • 64 Metascore
    • 67 Alan Sepinwall
    I don't love the pilot, but the raw material's there for a very good comedy.
    • 62 Metascore
    • 67 Alan Sepinwall
    The first pilot was already emblematic of the struggle to do cable-style weirdness and moral ambiguity in a broadcast network context; the new pilot sands off several of the edges that survived the first time.... It is, essentially, "House, JD," and Kinnear has the impish charm to play this kind of character.
    • 55 Metascore
    • 67 Alan Sepinwall
    Cuarón's contributions behind the camera are by far the most interesting part of Believe.
    • 48 Metascore
    • 67 Alan Sepinwall
    It's a dumb pilot directed by "Fast & Furious" franchise caretaker Justin Lin, which means there are multiple car chases that kick ass, including one near the end that's as fun as it is completely ridiculous.
    • 68 Metascore
    • 67 Alan Sepinwall
    In the moments when Annalise is plotting strategy with her underlings, or pulling one shady trick after another in open court, are a treat because Davis is there to carry it all.... The [other] characters involved are so much less compelling than Annalise that it feels like a magic trick gone awry.
    • 66 Metascore
    • 67 Alan Sepinwall
    [Feldman and Milioti are] bright and appealing, whether together or separately, but they can only do so much to ground the very lightweight and gimmicky show "A to Z" aspires to be.
    • 53 Metascore
    • 67 Alan Sepinwall
    There's the structure for a sturdy but unremarkable supernatural procedural (and companion piece to "Grimm"), but in the pilot, at least, producers David Goyer and Daniel Cerone aren't aiming for much more.
    • 63 Metascore
    • 67 Alan Sepinwall
    Good as Coupe is, the rest of the ensemble needs to come into sharper focus in a hurry for most of the comedy to work. But she's a strong foundational piece.
    • 89 Metascore
    • 67 Alan Sepinwall
    As great as both McDormand and Jenkins are in the lead roles (both are early Emmy frontrunners), their story ultimately feels too repetitive--the miniseries plays as a collection of anecdotes designed to make the same point over and over and over again--to justify the running time.
    • 63 Metascore
    • 67 Alan Sepinwall
    By this third season, The Newsroom is a show that's smoothed itself out, for good and for bad. The lows aren't nearly as low--Maggie, long the show's worst example of Sorkin's difficulties in writing for women, is so competent and confident this year that guys like Jim (John Gallagher Jr.) and Don (Thomas Sadoski) feel like doofuses around her--but nor are the highs especially high.
    • 57 Metascore
    • 60 Alan Sepinwall
    Like all the Bruckheimer procedurals... you know what you're getting from the jump: solid but unspectacular acting and storytelling that will leave you satisfied without rocking your world.
    • 75 Metascore
    • 60 Alan Sepinwall
    Last fall, "Studio 60" would have easily been the best new drama; this fall, it's lucky to squeeze into the top five, and a lot of that is based on potential more than what's on screen.
    • 59 Metascore
    • 60 Alan Sepinwall
    A schizophrenic pilot that's more interesting in parts than as a whole.
    • 48 Metascore
    • 60 Alan Sepinwall
    What you do after surviving the end of the world as you know it is an intriguing premise, and when "Jericho" sticks close to that, it's one of this season's more promising new dramas.
    • 60 Metascore
    • 60 Alan Sepinwall
    If the "Shark" writers feel the need to, in the very first episode, soften their hero in a way the "House" writers haven't had to do in two-plus seasons, how warm and fuzzy will the character be by November sweeps, let alone the end of the season?
    • 67 Metascore
    • 60 Alan Sepinwall
    "Write what you know" is a cardinal rule of writing, and Fey certainly knows this world better than Sorkin -- even if "The Girlie Show" is lame, I believe it exists in a way I don't with "Studio 60" -- but the history of failed behind-the-scenes sitcoms and dramas is so long and ugly that she would have been better served using a different setting altogether.
    • 40 Metascore
    • 60 Alan Sepinwall
    The larger problem may be whether there's enough material to cover an entire season.
    • 64 Metascore
    • 60 Alan Sepinwall
    One of the better -- if stranger -- comedy debuts the networks have put out this year.
    • 52 Metascore
    • 60 Alan Sepinwall
    The Sunday premiere has a nice mix of thrills, comedy and pathos, but is there a show here?
    • 68 Metascore
    • 60 Alan Sepinwall
    The guys are so polite and harmless that it's hard to dislike them even when they repeat themselves in such a short span.
    • 75 Metascore
    • 60 Alan Sepinwall
    Damages offers two superb performances by old pros Glenn Close and Ted Danson.... One thing it doesn't have: a compelling main character. It's a doughnut show: lots of sweet, satisfying goodness around the edges, nothing in the middle.

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