Alan Sepinwall
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For 653 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 Louie: Season 3
Lowest review score: 0 In the Motherhood: Season 1
Score distribution:
  1. Negative: 77 out of 653
653 tv reviews
    • 77 Metascore
    • 70 Alan Sepinwall
    Aliens is very much in the vein of previous nerd comedies like "Malcolm in the Middle" and "Freaks and Geeks," though it's not as explosively funny as either one of them.
    • 53 Metascore
    • 70 Alan Sepinwall
    It's very well-done teen angst, but at the same time made me feel very old and slightly pervy while watching it.
    • 73 Metascore
    • 70 Alan Sepinwall
    It still has some problems, and may not be able to milk the concept any longer than the Brits did, but the central concept--modern law-enforcement veteran has to deal with a world where forensics science is in its infancy and civil rights are treated as inconveniences at best--is still appealing, and in some ways more so when it's transplanted to the early '70s New York immortalized in cop films like "The French Connection" and "Serpico."
    • 76 Metascore
    • 70 Alan Sepinwall
    Perhaps recognizing the professional problem, the show's writers return with an episode where the crime has a painful personal connection for Grace. Some of the scenes still drag, but it's stronger than most of the season one episodes.
    • 66 Metascore
    • 70 Alan Sepinwall
    Chocolate News has the funny part down; now it just needs to make some fresher observations.
    • 77 Metascore
    • 70 Alan Sepinwall
    The show does such an amazing job of evoking a world not that long-gone, and in a way that makes it equal parts alluring and appalling.
    • 73 Metascore
    • 70 Alan Sepinwall
    Cranston's performance alone is enough to keep me watching for a while, but I'd like to see something resembling a completed formula, and soon.
    • Newark Star-Ledger
    • 70 Metascore
    • 70 Alan Sepinwall
    Ashes to Ashes has a cheekier energy that the original "Life on Mars," one that carries the show even when the police procedural stories are relatively bland.
    • 80 Metascore
    • 70 Alan Sepinwall
    If the world that Simon, Burns, Wright and company drop us into can be confusing at first (mirroring, as they intended, the confusion that Wright felt at the time), it's a fully-realized one that's both thousands of miles away (literally and figuratively) from the Baltimore of "The Wire" and one that will feel very familiar to anyone who spent a lot of time watching McNulty and Bunk drink at the train tracks.
    • 61 Metascore
    • 70 Alan Sepinwall
    The Ex List has the kind of silly romantic comedy premise that makes you feel dumber just for hearing it, but the show itself is actually fairly smart and funny--for the time being, at least.
    • 73 Metascore
    • 70 Alan Sepinwall
    The Middleman is at once retro and post-modern, the sort of result you'd get if you threw "The Tick" and the '50s black-and-white "Superman" TV show into a blender. And it's quite a lot of fun.
    • 58 Metascore
    • 70 Alan Sepinwall
    Tonally, Privileged is an amalgam of the CW's other shows in this genre: more contemporary and (at times) funnier than the new "90210" but not as nihilistic as "Gossip Girl." And Garcia's both charming and a promising light comedienne.
    • 62 Metascore
    • 70 Alan Sepinwall
    The journey from Point A to Point B is both surprising and funny in spots, thanks to Bornheimer's likable doofus vibe and the usual waves of contempt coming from Kurtwood Smith (last seen as Red on "That '70s Show") as his prospective father-in-law.
    • 68 Metascore
    • 70 Alan Sepinwall
    Sutter has some interesting characters and ideas here, but the intensity isn't there yet.
    • 62 Metascore
    • 70 Alan Sepinwall
    The world of the warehouse, and the interplay with the characters as they deal with it, are amusing enough to mark Warehouse 13 as a very promising summer series--regardless of the name of the channel it's on.
    • 53 Metascore
    • 70 Alan Sepinwall
    The two-hour pilot episode was engaging and fun in a way that NBC's other throwback dramas ("Knight Rider," "My Own Worst Enemy") have failed to be.
    • 60 Metascore
    • 70 Alan Sepinwall
    I want to see another episode or two before I can tell if The Philanthropist has the potential to be anything more than a summer trifle. But thanks to Purefoy, it's at least an entertaining trifle.
    • 61 Metascore
    • 70 Alan Sepinwall
    What The Unusuals lacks in cinematic sheen, it compensates with humor and a more interesting group of characters.
    • 78 Metascore
    • 70 Alan Sepinwall
    If you can get past the blatant attempts to sell an ABC News production to fans of ABC dramas--prepare yourself for a lot of going-into-commercial cliffhangers where the surgical patients don't seem to be waking up--Hopkins is a rewarding, and often surprising, experience.
    • 71 Metascore
    • 70 Alan Sepinwall
    As wonderfully played by Kenneth Branagh, Wallander is a fine addition to the tradition of PBS' "Mystery!"
    • 61 Metascore
    • 70 Alan Sepinwall
    Royal Pains can't help but suffer in comparison, but it's not a bad summer diversion--which, frankly, is all that "Burn Notice" was in its first season.
    • 58 Metascore
    • 70 Alan Sepinwall
    It's not a finished product yet, and Poehler and the writers need to find more ways to distinguish Leslie from Michael Scott, but funny forgives an awful lot.
    • 59 Metascore
    • 70 Alan Sepinwall
    While HBO’s new "How to Make It in America" is light on plot, characterization and humor, it’s got atmosphere to spare. And for a few episodes, that may be enough.
    • 75 Metascore
    • 70 Alan Sepinwall
    Jackie remains watchable because of Falco's no-nonsense, weary performance, and because of the off-kilter comic brilliance of Merritt Wever as Jackie's bubbly, spastic protégé Zoey.
    • 61 Metascore
    • 70 Alan Sepinwall
    Like the movie that inspired it, Parenthood isn’t an instant classic, but it’s smart and warm and knowing, and it casts its net so wide that at least part of it should connect with you.
    • 70 Metascore
    • 70 Alan Sepinwall
    It’s a solid meat-and-potatoes family comedy; next to "Hank," it’s the next "Malcolm in the Middle."
    • 57 Metascore
    • 70 Alan Sepinwall
    The jokes that do hit on "Life and Times of Tim" suggest that Dildarian might be onto something really good if given time to fix the slow spots.
    • 66 Metascore
    • 70 Alan Sepinwall
    For the seven of you who remember "Andy Richter," Better Off Ted isn't quite as good--in part because star Jay Harrington isn't as innately funny as Richter (and he's mainly used as a straight man), and also because Fresco ditched the fantasy scenes that were often the most memorable part of the earlier series--but it's still a breath of fresh air in the present stale environment for TV comedy, as well as an accidentally timely show.
    • 84 Metascore
    • 70 Alan Sepinwall
    With this cast, and the writing of Fresco and company, I expect Ted season two to again hit the heights of that first season. But these two episodes are a reminder of how hard it is to pull that off.
    • 83 Metascore
    • 70 Alan Sepinwall
    So long as Elba's on the screen, I'm interested, and even more when he and Wilson are sharing it. But ultimately, Luther turned out to be more average than I thought at first, regardless of its country of origin.
    • 80 Metascore
    • 70 Alan Sepinwall
    The pilot, in which Yost liberally borrows Leonard’s trademark lean dialogue from "Fire in the Hole," has a swagger to it, and also a sly sense of humor....Without Leonard’s writing to directly adapt, the later episodes are a mixed bag.
    • 67 Metascore
    • 70 Alan Sepinwall
    Nikita is good, but it's not transcendent.
    • 73 Metascore
    • 70 Alan Sepinwall
    There are so many lies in so many places, so many people on the verge of finding out and/or being hurt, that it feels like Lone Star might become very frustrating and repetitive by episode 3 or 4. I would watch a movie version of Lone Star, and I will stick with the series hoping it proves me wrong, but it doesn't feel like this premise has legs.
    • 82 Metascore
    • 70 Alan Sepinwall
    I was encouraged that the character-driven third episode was stronger than the zombie action-heavy second, and perhaps the producers will be proven right--that the longer this saga goes on past these initial six episodes, the more it will set itself apart from the zombie canon.
    • 67 Metascore
    • 70 Alan Sepinwall
    The show is less profound and novel than it seems to think it is. But the performances are strong enough that I want to stick around for Cathy Jamison's final journey, even if the path feels particularly well-trod.
    • Hitfix
    • 71 Metascore
    • 70 Alan Sepinwall
    Human Target is still Human Target. If you enjoyed the show last year, you will now. If, like me, you were hoping for something just a little bit deeper, you might need to wait a while to see.
    • 56 Metascore
    • 70 Alan Sepinwall
    Body of Proof is, in other words, a mash-up of half the popular mystery series on TV right now: a little bit "Castle," a little bit "Bones" and a whole lot "House." How effective you find it depends almost entirely on how you feel about Delany.
    • 83 Metascore
    • 70 Alan Sepinwall
    It took me a while to overcome the "been there, analyzed that" feelings I had in the opening episodes, as Paul and his patients began the familiar dance, wherein they talk about only what they're comfortable talking about while Paul, like a good detective, tries to solve the mystery of what's really bothering them.
    • 82 Metascore
    • 70 Alan Sepinwall
    Overall, a solid but not riveting premiere. No goosebumps ala Eric in the halftime locker room last year, but as always, it's good to be back in Dillon.
    • 84 Metascore
    • 70 Alan Sepinwall
    So the atmosphere and central performances feel worthy of telling one story over 13 hours. My concern is whether the story can say the same.
    • 72 Metascore
    • 70 Alan Sepinwall
    Peter and Neal now have very good reason to be wary of each other, and that not only suggests good things in the future but spices up all of their interactions while they work their latest case. It's a vast improvement, and a welcome example of a show eventually finding itself by eliminating outside distractions and focusing as much as possible on the core concept.
    • 65 Metascore
    • 70 Alan Sepinwall
    When Doe is just exploring the depth and breadth of his great brain - playing a virtuoso rendition of "My Funny Valentine," showing off for a crowd of library patrons - John Doe feels like a show that a lot of people may want to get to know. [19 Sept 2002]
    • Newark Star-Ledger
    • 55 Metascore
    • 70 Alan Sepinwall
    It's definitely not sunshine and lollipops, but series creator David Hollander manages to push the right emotional buttons. [25 Sept 2001, p.33]
    • Newark Star-Ledger
    • 63 Metascore
    • 67 Alan Sepinwall
    Ultimately, I was more drawn in by the team's interactions than I was by either aspect of the plot, but that's probably better for the show's long-term viability.
    • 43 Metascore
    • 67 Alan Sepinwall
    It's a good cast, and Porter in particular works very well with Bilson. The show just needs to find a way to transcend both formula and Southern stereotypes.
    • 70 Metascore
    • 67 Alan Sepinwall
    It aims high, and wide, and near and far, and if it doesn't hit all of its many targets, it hits several. And that's probably enough to justify the time and expense everyone put into bringing Torchwood more firmly onto American soil.
    • 64 Metascore
    • 67 Alan Sepinwall
    What you have is a comedy with three very talented, funny leads, with a premise that lends itself well to stories and jokes, and execution that isn't quite there yet.
    • 79 Metascore
    • 67 Alan Sepinwall
    "WWII in HD" at times felt like a rough outline of what an actual history of the war would look like, but it had all that amazing, horrifying imagery to compensate. The Vietnam in HD footage is no less incredible and/or dismaying, but it's also much more familiar.
    • 63 Metascore
    • 67 Alan Sepinwall
    It's an interesting, emotionally manipulative but still effective hour of television.
    • 60 Metascore
    • 67 Alan Sepinwall
    It's successful enough at achieving its own more modest goals.
    • 63 Metascore
    • 67 Alan Sepinwall
    There's enough involving the main characters that I'm willing to stick around for a bit to let the rest of House of Lies find itself.
    • 46 Metascore
    • 67 Alan Sepinwall
    The toughest part of most new series is coming up with characters that the viewer will want to watch for weeks, if not years, on end, and they've already licked that part of it. We'll see if the rest follows.
    • 71 Metascore
    • 67 Alan Sepinwall
    Some of it works, while other pieces either need to be dropped or improved going forward. Fortunately, there's a solid foundation in Walker and Ritter as the uneasy roommates.
    • 56 Metascore
    • 67 Alan Sepinwall
    If you view it as, say, a USA show with less humor but much higher production values, with attractive people having adventures you can enjoy while doing the laundry or sorting through junk mail, it'll do the job for now.
    • 70 Metascore
    • 67 Alan Sepinwall
    It's a primetime soap, but one that's genuinely more interested in what the characters want to do for a living than in who they're sleeping with.
    • 67 Metascore
    • 67 Alan Sepinwall
    I'd like to see the mysteries grow more engaging as the series moves along, but Longmire at least starts with a good foundation in Walt, his sidekicks, and the wide, open spaces they travel.
    • 66 Metascore
    • 67 Alan Sepinwall
    There's enough in this first episode to bring me back for more, but a lot of potential trouble signs along the way.
    • 67 Metascore
    • 67 Alan Sepinwall
    It's a promising framework for a series, and the first two episodes of Copper work in fits and starts.
    • 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.
    • 60 Metascore
    • 67 Alan Sepinwall
    Throughout the one-hour Mockingbird Lane pilot, it's easy to see why NBC wanted Fuller (with help from director Bryan Singer) to tackle this material, just as it's easy to see why his take scared them.
    • 61 Metascore
    • 67 Alan Sepinwall
    There's a likability to it that occasionally reminded me of another one-hour comedy that loved music, NBC's "Ed," and the varied nature of the parties the guys play evokes Starz's late, lamented "Party Down."
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 64 Metascore
    • 67 Alan Sepinwall
    I don't love the pilot, but the raw material's there for a very good comedy.
    • 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.
    • 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.
    • 61 Metascore
    • 60 Alan Sepinwall
    Doherty and Milano, together with some silly dialogue and plots, promise some good campy fun. The problems come whenever their third sibling, played by Holly Marie Combs ("Picket Fences"), is on screen. You see, Combs can actually act, and whenever she starts to emote, she gives the trashy proceedings a bit more reality than they can handle. [7 Oct 1998, p.39]
    • Newark Star-Ledger
    • 74 Metascore
    • 60 Alan Sepinwall
    In the early episodes, the cases are knotty and compelling... and Kelley comes up with some intriguing legal strategies ... But as the weeks go by, those wacky subplots start cropping up again. [4 Mar 1997]
    • Newark Star-Ledger
    • 47 Metascore
    • 60 Alan Sepinwall
    Magnificent Seve" can't hold a candle to its cinematic predecessor, or to most of the old TV classics like Gunsmoke. But in a world where all the cowboys rode off into the sunset decades ago, we'll take a watered-down Western just fine, ma'am. [3 Jan 1998]
    • Newark Star-Ledger
    • 64 Metascore
    • 60 Alan Sepinwall
    For now, at least, the satirical elements aren't as sharp as other popular cartoons like "The Simpsons" or "King of the Hill" or even "Beavis & Butt-Head." [13 Aug 1997]
    • Newark Star-Ledger
    • 70 Metascore
    • 60 Alan Sepinwall
    In an episode like next week's, in which Allison spots the ghost of a recently deceased man watching a murder, the twistiness works; in one like tonight's, featuring a complicated web of affairs, betrayals and possible reincarnations, things become so tangled that the story and Arquette can't keep up.
    • 79 Metascore
    • 60 Alan Sepinwall
    The performances by the three lead actresses (and by Amanda Seyfried as Paxton and Tripplehorn's eldest daughter) are so strong, and the nuances of life in such a complicated relationship so endlessly fascinating, that I'll suffer through the rest for a few episodes at a time before Bill's unsettling stare or Roman's calm, criminal sense of entitlement chases me off again.
    • 40 Metascore
    • 60 Alan Sepinwall
    The larger problem may be whether there's enough material to cover an entire season.
    • 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?
    • 59 Metascore
    • 60 Alan Sepinwall
    A schizophrenic pilot that's more interesting in parts than as a whole.
    • 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.
    • 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.
    • 73 Metascore
    • 60 Alan Sepinwall
    It feels, at times, like the episodes are trying too hard to be self-referential, with lots of jokes at the expense of NBC and General Electric, and with Baldwin seeming to address the audience directly at the start of the premiere.
    • 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
    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.
    • 81 Metascore
    • 60 Alan Sepinwall
    Toward the end of the second episode, two characters who have no business acting chummy with each other get in the back of a car together and do exactly that. And rather than make me eager to pop in my screener of the third episode (which I did, eventually), it just killed all the buzz I had built up to that point.
    • 52 Metascore
    • 60 Alan Sepinwall
    The Sunday premiere has a nice mix of thrills, comedy and pathos, but is there a show here?
    • 64 Metascore
    • 60 Alan Sepinwall
    One of the better -- if stranger -- comedy debuts the networks have put out this year.
    • 72 Metascore
    • 60 Alan Sepinwall
    A show with such a weird mix of tones and subject matters needs a strong cast to even have a hope of working, and for the most part, the ensemble remains sturdy.
    • 66 Metascore
    • 60 Alan Sepinwall
    Margulies is a potent enough screen presence that this part of the show could be interesting, but Canterbury's self-destructive streak gets overshadowed by all the Leg Show material and the overheated courtroom theatrics.
    • 74 Metascore
    • 60 Alan Sepinwall
    Terminator: The Sarah Connor Chronicles happens to contain that show's most interesting character. It just ain't Sarah Connor.
    • 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.
    • 64 Metascore
    • 60 Alan Sepinwall
    Lewis is a strong enough actor (again, see "Band of Brothers") that there are moments where he pulls together all these tics into a character who could be interesting, but too much time gets wasted on pedestrian mysteries to give him room to work.
    • 72 Metascore
    • 60 Alan Sepinwall
    So long as Lewis is around, Life will be several steps above those cookie-cutter police procedurals.
    • 64 Metascore
    • 60 Alan Sepinwall
    The pieces shouldn't fit together--Earl's celestial presence with Grace's raging sex life, discussions of metaphysics with police procedural plots--but somehow they do.
    • 67 Metascore
    • 60 Alan Sepinwall
    Fringe is just good enough to watch with or without the ads. But with Abrams, you expect more than "just good enough."
    • 51 Metascore
    • 60 Alan Sepinwall
    For the most part, they're neither fish nor fowl: not gory enough for the "Saw"/"Hostel" crowd, and not genuinely scary enough for anybody else.
    • 65 Metascore
    • 60 Alan Sepinwall
    Baker has an unforced masculinity that allows him to play likable bastards like this, and with the other regular characters (played by Robin Tunney, Owain Yeoman, Tim Kang and Amanda Righetti) so far ciphers at best, he's able to carry the show by his lonesome.
    • 57 Metascore
    • 60 Alan Sepinwall
    Whedon is a vastly better storyteller than anyone involved in "My Own Worst Enemy," so Dollhouse can be very engaging, even if the premise doesn't make sense. Dushku isn't as versatile as the role demands--many weeks, the only difference in Echo's persona seems to be her wardrobe--but Whedon and his writers certainly are.
    • 52 Metascore
    • 60 Alan Sepinwall
    It's fun and diverting, and certainly has the potential to be much more, based on Thomas' work on the original series--and the glimpses we see of Cannavale and Paulson in these roles. But right now, it seems less a great romance rekindled than a reunion fueled by nostalgia instead of passion.
    • 28 Metascore
    • 60 Alan Sepinwall
    There's plenty of humiliation in I Survived a Japanese Game Show as well, but there it's so varied and strange--and very much in keeping with what I understand of those shows--that it doesn't get repetitive or annoying.
    • 58 Metascore
    • 60 Alan Sepinwall
    Despite a wonderful cast put to good use, a very well-designed parallel world and some marvelous turns of phrase, I can't help admiring Kings more than I actually liked it.
    • 51 Metascore
    • 60 Alan Sepinwall
    Basically, it's a dumber version of "The Shield." Swayze's performance and the always-memorable Chicago locales are frequently undercut by dialogue that's clumsy and/or spells out things we can see for ourselves, and by model-turned-actor Fimmel, last seen on the WB's deservedly short-lived "Tarzan" remake.
    • 68 Metascore
    • 60 Alan Sepinwall
    The new TNT drama Leverage isn't a great show, but it may just be the exact right show at the exact right time.
    • 54 Metascore
    • 60 Alan Sepinwall
    Katic has the more thankless role, as the actress in this scenario inevitably does, but the necessary sparks fly when she and Fillion are on screen together swapping barbs, and hopefully as time goes on, she'll get more to do than play kindergarten teacher to Castle. How much you like the series will depend almost entirely on how you enjoy watching these two spar; for me, that was enough.
    • Newark Star-Ledger
    • 47 Metascore
    • 60 Alan Sepinwall
    Neither trainwreck nor masterpiece, the new "90210" was exactly what nobody expected it would be: remarkably faithful in tone and spirit to the original adventures of Brandon, Brenda, Scott Scanlon and company.
    • 67 Metascore
    • 60 Alan Sepinwall
    Conan was simultaneously reassuring his fans that he wasn't going to change too much in the new gig, and telling the traditional Tonight audience what they might expect from the new landlord. This was the smart, and really only, play Conan could make on night one of such a high-profile job. I just wish the execution had been a little better.
    • 66 Metascore
    • 60 Alan Sepinwall
    Easy Money was created by Diane Frolov and Andrew Schneider, who wrote for "The Sopranos," and the show in many ways feels like a low-budget HBO (or FX) series.
    • 37 Metascore
    • 60 Alan Sepinwall
    I don't know that there's a long-running series here--even the pilot runs out of steam before the end--but I did laugh several times.
    • 56 Metascore
    • 60 Alan Sepinwall
    When I tell you that Weeds is off to a good start with Monday (Aug. 16) night's sixth season premiere, you have to know that what I'm saying is that it's pushing the story forward in interesting ways, not that Weeds has gone back to being the show it was in Season Two.
    • 64 Metascore
    • 60 Alan Sepinwall
    Bored to Death (created by real-life novelist--but not private dick--Jonathan Ames) as a whole is so dry in its comedy that there's very little margin for error. (Like the "Star Trek" movies, I found myself enjoying the even-numbered episodes and struggling through the odd-numbered ones.)
    • 69 Metascore
    • 60 Alan Sepinwall
    It looks great, makes good use of Los Angeles locations and has a solid ensemble cast (including Regina King and Tom Everett Scott as detectives). But it feels emotionally empty in the same way "Third Watch" so often did.
    • 51 Metascore
    • 60 Alan Sepinwall
    Cougar Town, on the other hand, is still finding itself, but it’s already much better than the title would suggest.
    • 65 Metascore
    • 60 Alan Sepinwall
    As a show about average people who become superheroes, No Ordinary Family is very promising. It's the "Family" part of the title where the series has problems.
    • 91 Metascore
    • 60 Alan Sepinwall
    Now, I wouldn't say I loved it. Parts of it I didn't even like. I became quite engaged with what was going on downstairs with the servants, while I found virtually everything having to do with the Granthams (at least the parts unrelated to how they dealt with the staff) a chore to get through.
    • 64 Metascore
    • 60 Alan Sepinwall
    If it felt much like an episode of one of Conan's old shows, the Conan debut also felt like a middle-of-the-pack example. Some funny bits, some other obligatory moments, and a good feeling to have the guy back, but nothing extraordinary like, say, his final week on "Tonight."
    • 54 Metascore
    • 60 Alan Sepinwall
    Much like "Cougar Town" was back in the fall of '09, Mr. Sunshine is a show with a lot of likable performers, a solid creative pedigree, occasional laughs and a whole lot of room for improvement.
    • 79 Metascore
    • 60 Alan Sepinwall
    I don't have much new to say about the third season of Jackie, because the show's strengths and weaknesses are the same as they've always been.
    • 49 Metascore
    • 60 Alan Sepinwall
    There's a promising show here, and with time maybe Chaos can figure itself out.
    • 66 Metascore
    • 58 Alan Sepinwall
    Twenty Twelve is ultimately too safe and predictable to be funny enough for the time spent watching it.
    • 66 Metascore
    • 58 Alan Sepinwall
    The larger problem, though, is that unless you're deeply invested in the fairy tale characters and seeing the variations on their familiar backstories--seeing, for instance, that Snow and Charming had a very different first meeting than the one we know about--then most of the story and character work is flat, despite a cast of likable, game actors.
    • 66 Metascore
    • 58 Alan Sepinwall
    A good sitcom is much more likely to have started life with a bad pilot than a good drama, and there are little glimmers in each episode that suggest a much better show could come later. But those glimmers are much more obvious in 2 Broke Girls than in "Whitney."
    • 63 Metascore
    • 58 Alan Sepinwall
    It's not quite good (other than The Swede), but it's also not especially bad (though it has occasional terrible moments.
    • 64 Metascore
    • 58 Alan Sepinwall
    Though there are some good jokes here and there about the humiliations a little person actor has to endure on your average movie set, for the most part, the biggest laughs have little to do with Davis and everything to do with the celebrity guests.
    • 49 Metascore
    • 58 Alan Sepinwall
    It's mediocre, but it's at least pleasantly mediocre.
    • 62 Metascore
    • 58 Alan Sepinwall
    It's much too generic given Abrams' reputation from "Alias," "Lost," the better years of "Fringe" and the "Star Trek" reboot.
    • 57 Metascore
    • 58 Alan Sepinwall
    NYC 22 feels like the TV version of the show it wants to be.
    • 68 Metascore
    • 58 Alan Sepinwall
    It's still not anywhere near the ballpark of the earlier AMC shows, and the plot itself remains incredibly frustrating, but there are other aspects that feel closer to the show Sud said she was making last year, rather than the one she actually made.
    • 63 Metascore
    • 58 Alan Sepinwall
    Hagman--and to a lesser extent fellow returning stars Patrick Duffy and Linda Gray--are so much more fun to watch than their four new, young co-stars that the new Dallas plays less like a passing of the torch than a suggestion that torches were better back in the '80s.
    • 62 Metascore
    • 58 Alan Sepinwall
    Ultimately, I found Da Vinci's Demons ridiculous but fairly amiable.
    • 65 Metascore
    • 58 Alan Sepinwall
    The pilot feels like 17 shows all crammed together into one.
    • 75 Metascore
    • 58 Alan Sepinwall
    There's enough strong raw material on hand that Ray Donovan could eventually be built into something great. Right now, though, it's raw material in search of a series.
    • 58 Metascore
    • 58 Alan Sepinwall
    Hello Ladies is so much of a piece with both "The Office" and "Life's Too Short"--oblivious asshole keeps putting himself in humiliating situations because of an overinflated sense of self--that it's tiresome almost from the start.
    • 66 Metascore
    • 58 Alan Sepinwall
    Though The Newsroom, like "Studio 60 on the Sunset Strip" before it, is mostly Bad Sorkin on display, there are also those occasional flashes of Good Sorkin that make it worth sifting through the rest of the mess to find.
    • 63 Metascore
    • 58 Alan Sepinwall
    Mob City looks so good that I may watch it all the way through (TNT only sent out tonight’s episodes in advance) just for the eye candy. Unfortunately, it doesn’t have much else to offer.
    • 62 Metascore
    • 58 Alan Sepinwall
    Urban is usually a likable presence, and in time Kennex might calm down and start feeling like a person rather than a cliché, at which point Almost Human could settle into being an acceptable spin on buddy cop tropes. Right now, though, it's Ealy or bust.
    • 44 Metascore
    • 58 Alan Sepinwall
    This compromise version emphasizes some of Killen's own weaknesses — he's not a procedural guy, as the cases on "Awake" tended to demonstrate.
    • 67 Metascore
    • 58 Alan Sepinwall
    It's not a terrible show, but it's a fairly literal, toothless translation of the source material that doesn't give much indication of working as an ongoing series.
    • 51 Metascore
    • 58 Alan Sepinwall
    On the whole, Bad Teacher is a pleasant, unremarkable adaptation of a middling Cameron Diaz vehicle that, in the translation from standalone film to series television (and, specifically, to CBS), loses whatever teeth the movie had.
    • 53 Metascore
    • 58 Alan Sepinwall
    The pilot (the only episode I've seen, despite the very late premiere) is ultimately painless.
    • 66 Metascore
    • 58 Alan Sepinwall
    All the show has now is that potential, the raw talent, and a setting it doesn't know what to do with.
    • 55 Metascore
    • 58 Alan Sepinwall
    Not an especially good first episode (the two-part backdoor pilot on "NCIS" last spring was better), but one I may return to on occasion, just like the original series, just to see the actors work.
    • 49 Metascore
    • 58 Alan Sepinwall
    The Undateable pilot was a real chore to get through, in part because Danny is just such an obnoxious collection of dude-bro stereotypes.... Later episodes get better, because they start moving away from the idea of Danny as some kind of sexual Jedi master whom the others are lucky to be learning from.
    • 53 Metascore
    • 50 Alan Sepinwall
    "Family Guy" ... consists of almost nothing but pop culture references. ... Now, some of these gags are side-splittingly funny ... but there are way too many of them. [9 Apr 1999]
    • Newark Star-Ledger
    • 53 Metascore
    • 50 Alan Sepinwall
    Fortunately, Ritter is such a seasoned pro at this sitcom thing that he makes "8 Simple Rules" vaguely watchable, and at times actually funny, when in lesser hands it would be thoroughly unpleasant. [17 Sep 2002]
    • Newark Star-Ledger
    • 48 Metascore
    • 50 Alan Sepinwall
    It was the usual schtick from Leno--which is probably just what his fans wanted to hear after he'd been out of late night for a year and off TV altogether for weeks--with jokes about the Olympics, Dick Cheney, and, of course, the flagging fortunes of the network he's on.
    • 66 Metascore
    • 50 Alan Sepinwall
    At times "Cold Case" feels like an assembly-line product, slick and shiny but a bit rushed and impersonal. [23 Sep 2003]
    • Newark Star-Ledger
    • 74 Metascore
    • 50 Alan Sepinwall
    Murphy's writing has never been especially fond of subtlety - give him a fly to kill, and he'll ask for a brick of C4 - but this version of Nip/Tuck more closely resembles the show the fans fell in love with instead of the one they thought they wanted with The Carver story. [5 Sept 2006, p.27]
    • Newark Star-Ledger
    • 63 Metascore
    • 50 Alan Sepinwall
    Like "Queer as Folk," The L Word is essentially a mediocre soap opera in soft-core porno drag. There's lots of hot, sweaty, half-naked bodies, but the heads attached spend so much time droning on and on and on about their mundane lives and loves that the sex scenes just feel like an intermission in between all the tepid girl-on-girl dialogue. [16 Jan 2004, p.55]
    • Newark Star-Ledger
    • 41 Metascore
    • 50 Alan Sepinwall
    If you're not expecting much, you'll come away satisfied. But compared to a good episode of "Family Guy" - or even a mediocre "Simpsons" episode - it's pretty thin gruel. [28 Apr 2005]
    • Newark Star-Ledger
    • 53 Metascore
    • 50 Alan Sepinwall
    If you've somehow never seen any of the twelve dozen procedural crime shows that CBS does, it might feel a little new, but too often the scenes with Don and his colleagues feel obligatory, like everyone is doing their best to keep the plot moving until Charlie bursts in with the correct digits. [21 Jan 2005]
    • Newark Star-Ledger
    • 71 Metascore
    • 50 Alan Sepinwall
    The show feels cold, like it's holding the audience at arm's length.
    • 68 Metascore
    • 50 Alan Sepinwall
    As usual, it's all too busy, too tonally inconsistent (the scenes with Bill's parents seem to exist not only on a different series, but a different plane of reality) and too often obscures the terrific work being done by Tripplehorn, Sevigny, Goodwin and Seyfried.
    • 82 Metascore
    • 50 Alan Sepinwall
    It has so much going for it on paper -- notably Mary-Louise Parker as a pot-dealing soccer mom -- but the series' creators remain so pleased with themselves that they're rarely as funny as they obviously think they are. [13 Aug 2007]
    • Newark Star-Ledger
    • 67 Metascore
    • 50 Alan Sepinwall
    Much as I admire Lilley's ability to pull off a sort of one-man Christopher Guest movie, only one of the three Summer Heights High leads is funny on a consistent basis.
    • 55 Metascore
    • 50 Alan Sepinwall
    It isn't until the werewolf-themed fourth episode that "Dresden Files" finally gives you a trick worth applauding. Hopefully, there's more of that to come.
    • 59 Metascore
    • 50 Alan Sepinwall
    A sometimes-promising, sometimes-frustrating, always-overpopulated new sitcom that kicks off this season's odd new trend of shows about relative strangers who become best pals in a hurry.
    • 88 Metascore
    • 50 Alan Sepinwall
    And then, near the end of the premiere, something happened that put a dull ache in the pit of my stomach. I won't spoil it here - henceforth, it'll be referred to as The Bad Thing - but it seemed so tonally wrong, so in violation of everything that made the show and the particular characters involved so great, that I knew - I knew - this had been imposed on the production team by the suits at NBC. [5 Oct 2007, p.55]
    • Newark Star-Ledger
    • 50 Metascore
    • 50 Alan Sepinwall
    It's an odd little show, often more David Lynch than David Milch, and after three episodes I'm still not sure I understand it all.
    • 64 Metascore
    • 50 Alan Sepinwall
    I like her a lot, but the shaggy-dog nature of the storytelling... made the comedy miss about as often as it hit for me.
    • 65 Metascore
    • 50 Alan Sepinwall
    As epic as Reggie vs. Billy or Billy vs. George were on the sports pages in the summer of Sam, it doesn't feel like quite enough to fill eight hours of scripted drama.
    • 68 Metascore
    • 50 Alan Sepinwall
    Even though the performances, the writing, directing, etc., are uniformly strong, The Riches is just too unpleasant to make a weekly commitment to.
    • 63 Metascore
    • 50 Alan Sepinwall
    There's nothing annoying about it, but there's also nothing memorable.
    • 49 Metascore
    • 50 Alan Sepinwall
    The sex is all implied rather than shown, as is much of the drug use. It's a very PG-13 approach to potentially R-rated subject matter--and that's the problem.
    • 56 Metascore
    • 50 Alan Sepinwall
    Reaper takes several steps back--and a few steps sideways--suggesting a drunken all-nighter may be in order, if it hasn't happened already.
    • 69 Metascore
    • 50 Alan Sepinwall
    It wants to be a smart-aleck comedy/thriller hybrid in the spirit of Elmore Leonard and Carl Hiaasen, but the jokes are rarely clever enough and the thrills rarely exciting enough.
    • 53 Metascore
    • 50 Alan Sepinwall
    Some of the performances are good, particularly by Deschanel (who gets to sing near the end, good news for anyone who saw "Elf"), McDonough and Cumming, but solid acting and monkeys flying out of, um, someplace aren't enough to justify spending six hours over three nights on a labored attempt to make a classic children's story seem grown-up and cool.
    • 78 Metascore
    • 50 Alan Sepinwall
    There are moments when John Adams stirs up the passion its author clearly had for the subject -- Adams firing off a rifle in the middle of a battle at sea with a British warship, the first public reading of the Declaration, George Washington (David Morse, in the second-best piece of casting other than Giamatti) whispering his oath of office at his inauguration -- but too often it's just as muddy and dull as its subject was accused of being.
    • 50 Metascore
    • 50 Alan Sepinwall
    The Flashpoint pilot is competent, but very retro (there's an extended sequence of the team driving to a crisis point with their sirens blaring, the sort of thing that went out 15 years ago) and fairly dull.
    • 61 Metascore
    • 50 Alan Sepinwall
    While the jokes may be funnier than "King" has been in a long time, the new show also feels more uneven and strained.
    • 41 Metascore
    • 50 Alan Sepinwall
    It's not a bad show, but the mechanics of how they're going to abduct their latest target are far less engaging than how the team interacts with each other and how each member fights his or her compulsions.
    • 55 Metascore
    • 50 Alan Sepinwall
    Cleveland isn’t an inherently interesting, or, worse, funny, character. His presence allows the writers (many of them white like Henry and Appel) to tell meta jokes about white people in Hollywood producing entertainment for a black audience, and occasionally some of the racial humor lands.
    • 64 Metascore
    • 50 Alan Sepinwall
    If Lie to Me wants to elevate itself above all the other shows like it, it not only needs to beef up the quality of its mysteries, but to spend more time focusing on these unexpected downsides of the power to live a life of absolute truths.
    • 77 Metascore
    • 50 Alan Sepinwall
    It’s a bland, interchangeable bunch, with most of them having a single identifiable trait.
    • 78 Metascore
    • 50 Alan Sepinwall
    They're flashy and can be briefly shocking or funny or even moving, but the more they go over-the-top, the less impact they have for me.
    • 66 Metascore
    • 50 Alan Sepinwall
    V has to rise and fall on its story and its characters. Based on the pilot, both of those areas are spotty.
    • 71 Metascore
    • 50 Alan Sepinwall
    If Guggenheim can deepen the personalities and show how the flash forward really impacted them, then they might have a show here. Because right now, there's an interesting idea, some good production values and a cool cliffhanger, and not much else.
    • 54 Metascore
    • 50 Alan Sepinwall
    Defying Gravity--an international production with American actors--feels too slight, or silly, to treat as anything but the cheap, disposable summer programming it is.
    • 64 Metascore
    • 50 Alan Sepinwall
    Right now, it's a work in progress at best.
    • 56 Metascore
    • 50 Alan Sepinwall
    Where other law shows tend to have one side view the other as the embodiment of evil, here we see that these two are old friends from law school who enjoy the battle of wits even as they're convinced they're on the right side of every fight. On those occasions when The Whole Truth slows down to just let those two bounce off each other, it's a show I almost want to watch. But the rest of it is too fast, and too thin, to bother with.
    • 80 Metascore
    • 50 Alan Sepinwall
    The show is trying to depict a good cross-section of the city's cop culture. But the scenes with the uniform cops - Ben McKenzie as a young quick study, Michael Cudlitz as his gruff but clever training officer - are just much more vibrant and memorable than anything with the detectives.
    • 49 Metascore
    • 50 Alan Sepinwall
    There aren't any particularly wince-inducing moments, but nor are the various grabs for the heartstrings as successful as they are when "Grey's" is at its best. No lows, but no highs, either.
    • 44 Metascore
    • 50 Alan Sepinwall
    There are some likable actors here, and funny moments here and there, but the two episodes I've seen suggest a show not in the league of the established comedies NBC has on that night.
    • 60 Metascore
    • 50 Alan Sepinwall
    It's a likable cast and the show seems a potentially good companion to "HIMYM" (these characters even hang out in a bar that looks a bit like the "HIMYM" bar shifted 90 degrees), but there's one problem: It's not especially funny. Not yet, anyway.
    • 85 Metascore
    • 50 Alan Sepinwall
    Season five is a definite improvement on season four, but only to a point. There aren't as many different stories rattling around, but the show's still so crowded that it has to bounce from scene to scene, subplot to subplot, so quickly that very little gets a chance to breathe.
    • 58 Metascore
    • 50 Alan Sepinwall
    The series as a whole seems much more interested in the love triangle involving Arthur, his bravest knight Leontes (Philip Winchester) and the beautiful Guinevere (Tamsin Egerton) than in actually showing the growth of a king. It doesn't help that parts of that story are bizarrely anachronistic.
    • 45 Metascore
    • 50 Alan Sepinwall
    Taylor does a strong job of showcasing the show's main set, a recreation of the original Club, and several of the musical numbers (sometimes the Bunnies get to sing, and other times the show casts actors to play '60s musicians like Ike & Tina Turner) really pop. But the show's attempts at social relevance ring hollow, and the main plot leans too heavily on the wooden Cibrian.
    • 68 Metascore
    • 50 Alan Sepinwall
    There's no there there. Annie's missions each week are forgettable, and most seem to revolve around Annie seeming to get too personally invested, only for her instincts to be proven right over her more jaded colleagues.
    • 61 Metascore
    • 50 Alan Sepinwall
    This is a pretty by-the-numbers blend of teen angst and horror.
    • 61 Metascore
    • 50 Alan Sepinwall
    The pilot episode definitely would have benefited from a less-is-more approach, while the series as a whole could use a little more meat and/or logic.
    • 62 Metascore
    • 50 Alan Sepinwall
    [Thorne's] a likable, charming actress, surrounded by a bunch of familiar, appealing performers (Cohen in particular is someone I've liked a long time, even if the business hasn't known quite what to do with him), and I think there's potential in this idea. But the execution and/or the network aren't right for the idea.
    • 51 Metascore
    • 50 Alan Sepinwall
    The British show accepts that this is the story of two very damaged individuals and is willing to confront that damage early and often - sometimes seriously and sometimes in black comic fashion. Whether by choice or NBC fiat, Enbom has placed these same characters into a much lighter style, and the fit doesn't work.
    • 57 Metascore
    • 50 Alan Sepinwall
    The actual version of Unforgettable is so plodding and serious.
    • 55 Metascore
    • 50 Alan Sepinwall
    There's a potentially good supernatural cop show to be made, and certain pieces in place to make this into that. But the version you'll see on NBC tonight seems to be embracing the show's likely failure by being something few will miss if it doesn't work out.
    • 74 Metascore
    • 50 Alan Sepinwall
    As set up by White (and Dern, who's a producer and a contributor on the pilot script), Enlightened feels too lightweight to work as a short drama, and too clumsy in its attempts at humor to work that way.
    • 46 Metascore
    • 50 Alan Sepinwall
    The combination of the characters and the style made the whole shebang much easier for me to take than the movie. Still, I didn't feel any need to watch later episodes.
    • 52 Metascore
    • 50 Alan Sepinwall
    The Firm at this point doesn't offer much on its own.
    • 74 Metascore
    • 50 Alan Sepinwall
    My problem with the film is that it's all surface.
    • 63 Metascore
    • 50 Alan Sepinwall
    Even with all the changes in front of and behind the camera, Smash is fundamentally the same show with the same problems.
    • 56 Metascore
    • 50 Alan Sepinwall
    The Newsroom is convincing as a faux newscast. It's less convincing as good television.
    • 49 Metascore
    • 50 Alan Sepinwall
    It's not bad so much as tired: sexual tension between doctors, mysterious ailments that are diagnosed at the last possible second, even the hoary old cliché about the patient who needs life-saving surgery that their religious beliefs forbid.
    • 44 Metascore
    • 50 Alan Sepinwall
    Anger Management is Charlie Sheen doing what Charlie Sheen does-- on-screen. It's not artful, it's not elegant.
    • 48 Metascore
    • 50 Alan Sepinwall
    For this show to work long-term, its human characters have to become richer--and funnier--so that they can evolve with the audience long post the point where the writers have run out of tricks that Crystal and her various winged or four-legged co-stars can do.
    • 64 Metascore
    • 50 Alan Sepinwall
    Though Esposito and Burke are both excellent--and Kripke and Favreau stage a classic swashbuckling swordfight for Miles that's easily the highlight of the first hour--far too much time is spent on the boring (Charlie) or annoying (Danny) teenagers.
    • 49 Metascore
    • 50 Alan Sepinwall
    There's no character you haven't seen before. More importantly, there's no character that hasn't been done much, much better elsewhere.
    • 39 Metascore
    • 50 Alan Sepinwall
    The problem is that Zero Hour is either unwilling or unable to be that crazy all the time.
    • 51 Metascore
    • 50 Alan Sepinwall
    The characters don't feel any richer here than they do on CBS' various cop shows, and the series doesn't even commit to how much it wants to keep you guessing about why the crime occurred.
    • 58 Metascore
    • 50 Alan Sepinwall
    Simon, Sydney and their colleagues work in a giant office that seems much too underpopulated, just as the first episode feels like a rough draft.
    • 56 Metascore
    • 50 Alan Sepinwall
    Gabriel's super powers are the thing meant to set the show apart, but the Intelligence writers frequently do a poor job of differentiating how he's any different from someone wearing Google Glass.... That said, Holloway's charm did not get chopped away with his long hair.
    • 60 Metascore
    • 50 Alan Sepinwall
    It is non-terrible, but when there is a vastly better take on the exact same idea, the only excuses for watching this one are a lack of a Netflix subscription (and you can also buy the episodes on Amazon and iTunes) or a violent medical allergy to reading subtitles.
    • 49 Metascore
    • 50 Alan Sepinwall
    I found the characters forgettable, and the pilot as a whole--which mostly focuses on the characters' depressing, overwhelmed everyday lives pre-jackpot, along with flashforwards suggesting what a pain the money will turn out to be--weirdly stressful.
    • 52 Metascore
    • 50 Alan Sepinwall
    The characters are all broad types, the '80s references (Gobots, Sam Goody, an REO Speedwagon singalong) mostly feel shoehorned in rather than creating the feeling of the era, and the hostility of the family doesn't turn out to be great fodder for humor.
    • 63 Metascore
    • 50 Alan Sepinwall
    As The 100 goes along, you can feel it becoming more and more the show that Rothenberg and his writers want it to be, but it sure starts off at a great distance from from that destination. And even as it gets closer, there are still too many moments of mind-numbing illogic.
    • 49 Metascore
    • 50 Alan Sepinwall
    It's all pretty retro and forgettable.
    • 58 Metascore
    • 50 Alan Sepinwall
    Like most of [Starz's] shows, though, it's all flash and no substance, and the flash fades pretty quickly, no doubt right around the point the production accountant realized just how much it costs to film extended sequences with ships in water.
    • 63 Metascore
    • 50 Alan Sepinwall
    Every beat of that material is predictable and clumsy and unfunny.
    • 61 Metascore
    • 50 Alan Sepinwall
    Turn isn't bad, but it's also too forgettable to deserve a long look, cool credits or no.
    • 65 Metascore
    • 50 Alan Sepinwall
    The notion of two superficial, emotionally stunted human beings struggling with the realization that they still have feelings is by far the most interesting premise of these four shows. But Cash is significantly more appealing than Geere (in fairness, her character is a bit less horrible than his), and the overall execution falls short of the idea.... This one, at least, has the potential to be something more than it is at the moment.
    • 45 Metascore
    • 50 Alan Sepinwall
    It's as deeply cynical as its doctor anti-hero, but like Rush, it's aware of the path it's on and doesn't have the pretensions of being something it's not.
    • 54 Metascore
    • 50 Alan Sepinwall
    It's all fairly disposable, though at least the show lets Gruffudd use his native accent, and he has an interesting relationship with Judd Hirsch's Abe, the one man who knows his secret.
    • 52 Metascore
    • 42 Alan Sepinwall
    Overall, though, Jon Benjamin Has a Van isn't the next obvious step for Benjamin conquering TV comedy. It's a misfire that mainly made me sad we won't have full new seasons of either "Archer" or "Bob's Burgers" until 2012.
    • 41 Metascore
    • 42 Alan Sepinwall
    On top of having a dated premise, it just feels tired.
    • 59 Metascore
    • 42 Alan Sepinwall
    Barring a significant step up in quality--or at least the self-awareness to stop taking its silly plot and characters so seriously--those people [Gen X'ers who loved "Buffy"] will only be watching out of loyalty to a part that Gellar played a long time ago, on two different networks that no longer exist, and not because she's presently doing work that merits that kind of devotion.
    • 48 Metascore
    • 42 Alan Sepinwall
    Although there aren't any Carrie Bradshaw-esque puns on this show, nor ethnic stereotypes, the comedy feels more frantic and desperate.
    • 36 Metascore
    • 42 Alan Sepinwall
    At this stage, Man Up! (which was actually created by co-star Chris Moynihan) is a show with forgettable characters, jokes that don't land and a shaky grasp at best on its own premise.
    • 68 Metascore
    • 42 Alan Sepinwall
    Beyond the problems of time and memory, there's the way that Innocent feels trashy, overwrought and disposable.
    • 59 Metascore
    • 42 Alan Sepinwall
    When you spend all your time and energy explaining how the trick works, there's precious little left to entertain the audience.
    • 48 Metascore
    • 42 Alan Sepinwall
    It's just a collection of creepy imagery, lots of screaming and the occasional musical number for Anika Noni Rose.
    • 29 Metascore
    • 42 Alan Sepinwall
    It's lame and tin-eared.
    • 56 Metascore
    • 42 Alan Sepinwall
    As a narrative achievement, though, Magic City is a mess, filled with paper-thin characters and clichéd dialogue and storylines. If not for the appealing lead performance by Jeffrey Dean Morgan as Ike, large stretches of the series would be unwatchable, even with all the lovely visuals.
    • 54 Metascore
    • 42 Alan Sepinwall
    Even with the couples counseling gimmick, Common Law is ultimately too much like every other traditional cop show you've ever seen, even as it's also too much like every other USA show you've ever seen.
    • 36 Metascore
    • 42 Alan Sepinwall
    None of Men at Work is funny, but the greater sin is how uninspired it feels.
    • 61 Metascore
    • 42 Alan Sepinwall
    The execution in this case is too shrill and scattered to get any of his points--or jokes--across.
    • 47 Metascore
    • 42 Alan Sepinwall
    Adult life may be like high school some of the time, but it isn't all of the time--and a show suggesting that it is becomes just as difficult to endure as some of the worse memories of high school itself.
    • 65 Metascore
    • 42 Alan Sepinwall
    Ultimately, it's the exact same tedious show they've been making, under one name or another, for years now.
    • 62 Metascore
    • 42 Alan Sepinwall
    Williamson may have put thought into what this show is about, but what comes across on screen is an empty exercise in fetishizing the charismatic evil of serial killers.
    • 45 Metascore
    • 42 Alan Sepinwall
    There are just a lot of crazy, crazy ideas hurled out there with no real thought given to pace or tone or how to mesh them all together.
    • 43 Metascore
    • 42 Alan Sepinwall
    Based on the pilot (which, again, may not represent what the show looked like once Hunt took over), it's an unpleasant series full of hostile caricatures in need of fixing by Beth's heaven-sent advice.
    • 58 Metascore
    • 42 Alan Sepinwall
    There's potentially a very interesting show about cops from different cultures, with different methods of policing, learning to work together. Based on the pilot, at least, Crossing Lines just treats all that as window dressing for the same old, same old.
    • 66 Metascore
    • 42 Alan Sepinwall
    With the other Sundance series, very little may be happening in any given stretch, and yet they're so overflowing with emotion that it feels like everything is happening. Here, there are actual significant events (multiple robberies, a hit-and-run, various beatings) quite often, and yet it feels like nothing's happening.
    • 45 Metascore
    • 42 Alan Sepinwall
    Its hero is so obnoxiously awesome and self-righteous that I could only make it through half of the whopping eight episodes NBC sent out for review.
    • 54 Metascore
    • 42 Alan Sepinwall
    Despite the novel setting, everything about the show feels stodgy and cliched.
    • 53 Metascore
    • 42 Alan Sepinwall
    Season 4 was a mess well before it got to the parts designed to wrap up the series for good.
    • 59 Metascore
    • 42 Alan Sepinwall
    Legends wants you to take it very seriously, but throughout the two episodes I've seen, it plays like a parody of the kind of show it wants to be.
    • 57 Metascore
    • 42 Alan Sepinwall
    Eliza is such a broad caricature of everything Kapnek finds annoying about social media that she's unbearable--and not just to the other characters on the show.... The Selfie pilot offers glimmers of a show that can work. John Cho is very good: understated and wry and charming. Karen Gillan seems game for anything.
    • 38 Metascore
    • 42 Alan Sepinwall
    Though Mulaney the stand-up has a clear point of view, Mulaney the sitcom does not. It's a show about nothing, with nothing to say about that.

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