Alan Sepinwall
Select another critic »
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 Louie: Season 3
Lowest review score: 0 In the Motherhood: Season 1
Score distribution:
  1. Negative: 77 out of 655
655 tv reviews
    • 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.
    • 43 Metascore
    • 42 Alan Sepinwall
    State of Affairs doesn't have to be original to be good, but I'm not sure what good comes of the mixed-up show it is right now.
    • 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
    • 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.
    • 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
    • 56 Metascore
    • 40 Alan Sepinwall
    Heroes may be better this year than it was last year, but it's still a very dumb show that just wants you to think it's smart.
    • 43 Metascore
    • 40 Alan Sepinwall
    It's an hour of unpleasant yet bland people occasionally bumping into each other and saying racially provocative things.
    • 70 Metascore
    • 40 Alan Sepinwall
    "Weeds" isn't nearly as shocking or hilarious as it clearly thinks it is. [5 Aug 2005]
    • Newark Star-Ledger
    • 64 Metascore
    • 40 Alan Sepinwall
    In general, "Philadelphia" pulls back just short of being really tasteless, which seems to miss the point. [4 Aug 2005]
    • Newark Star-Ledger
    • 70 Metascore
    • 40 Alan Sepinwall
    The three episodes of the new season that I've seen are almost entirely flat. [29 Jun 2006]
    • Newark Star-Ledger
    • 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.
    • 72 Metascore
    • 40 Alan Sepinwall
    On paper, the idea of building a new democracy from the ruins of war while government contractors run amok--in other words, showing what would happen if the reconstruction of Iraq took place in our heartland--is just as strong as the original premise of Jericho. But the execution remains mediocre.
    • 73 Metascore
    • 40 Alan Sepinwall
    Unfortunately, the idea's a little too thin to support a weekly sitcom.
    • 37 Metascore
    • 40 Alan Sepinwall
    There's potentially a good show here; the pilot's just a miss.
    • 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.
    • 51 Metascore
    • 40 Alan Sepinwall
    "Vanished" is already lacking in the kind of star performances that make "Prison Break" or "24" worthwhile even when they're foot-dragging.
    • 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.
    • 69 Metascore
    • 40 Alan Sepinwall
    Despite two fine leading performances by Eddie Izzard and Minnie Driver and a premise that's not like anything else on television, there's something missing in the execution.
    • 59 Metascore
    • 40 Alan Sepinwall
    Samantha Who? isn't remotely as bad as the worst of this season's rookie class ("Cavemen," "Big Shots," CBS' upcoming "Viva Laughlin"), but it's ultimately forgettable in a way that a show about an amnesiac would probably want to avoid.
    • 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.
    • 57 Metascore
    • 40 Alan Sepinwall
    It's a watered-down, TV version of the familiar tale, as bland and inoffensive as possible.
    • 38 Metascore
    • 40 Alan Sepinwall
    The show plays like bad imitation noir where the private eye can occasionally sink his teeth into the villain.
    • 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.
    • 58 Metascore
    • 40 Alan Sepinwall
    None of those jokes serve any purpose except to be jokes, and they suffer for the fact that real people don't talk, think or act this way.
    • 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.
    • 53 Metascore
    • 40 Alan Sepinwall
    The longer you watch the show (I've seen all eight episodes of its first season), the emptier and more frustrating it becomes, to the point where even the brief running time begins to feel too long.
    • 61 Metascore
    • 40 Alan Sepinwall
    Maybe McBride has more pitches in his arsenal than he's shown so far, but the repertoire on display in Eastbound & Down feels too limited for a long stint on HBO's mound.
    • 53 Metascore
    • 40 Alan Sepinwall
    The premise is pretty standard Joseph Campbell, journey of the hero stuff, but the execution is poor.
    • 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.
    • 54 Metascore
    • 40 Alan Sepinwall
    Unlike "Life on Mars," the concept seems elastic enough that the show could run for a long time, but first its American producers would need to work on storytelling basics like pacing and developing interesting characters.
    • 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.
    • 47 Metascore
    • 40 Alan Sepinwall
    Valentine is more what I was anticipating when I heard about the MRC-on-CW deal: low-budget, disposable and artery-clogging in its levels of cheese.
    • 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.
    • 38 Metascore
    • 40 Alan Sepinwall
    Basically, The Deep End is "Grey's Anatomy" with lawyers, and the execution is as cynical and flat as that premise sounds.
    • 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.
    • 58 Metascore
    • 40 Alan Sepinwall
    Most of the humor feels like a show that’s trying too hard, except when we’re watching the great-yet-tiny character actress Linda Hunt as the boss of NCIS’s Los Angeles field office.
    • 48 Metascore
    • 40 Alan Sepinwall
    The material is so inherently dramatic that there are occasional moments where Three Rivers is affecting despite itself. But it's also a danger sign that one of the premiere episode's story lines has absolutely nothing to do with a patient in need of an organ.
    • 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.
    • 55 Metascore
    • 40 Alan Sepinwall
    Melrose does a better job integrating its two casts, and it embraces what it is: a trashy remake of one of the most memorably trashy hits in primetime history. It's still not good, mind you, but it's more honest and enthusiastic about its badness, you know?
    • 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.
    • 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.
    • 48 Metascore
    • 40 Alan Sepinwall
    The one moment people will talk about, and remember, from The Jay Leno Show debut was one of the least comic of Jay's career. It's going to get NBC some water cooler talk, and a lot of website hits, but it's not going to work as a signature "This is why Jay is awesome" clip like I think they were hoping.
    • 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.
    • 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.
    • 54 Metascore
    • 40 Alan Sepinwall
    All the color in the margins doesn't matter if the man at the center of the picture is a bore, which Lyons unfortunately is.
    • 73 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.
    • 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.
    • 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.
    • 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.
    • 59 Metascore
    • 40 Alan Sepinwall
    Over the three episodes USA sent out for review (the pilot, a mid-season episode, and the first season finale), what Kate does only occasionally matches up with the judge's speech, and none of her cases are interesting enough to distinguish Fairly Legal from the abundance of law shows on TV.
    • 54 Metascore
    • 40 Alan Sepinwall
    It's not painful--there are likable actors and the office setting is loose and fun--but none of the jokes land, at all.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 38 Metascore
    • 40 Alan Sepinwall
    It's all incredibly broad, and lacking in any real point of view.
    • 56 Metascore
    • 40 Alan Sepinwall
    It tries to coast on banter that's not particularly snappy, and on a snickering dependence on sex-related gags and plots.
    • 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.
    • 33 Metascore
    • 33 Alan Sepinwall
    The whole thing feels like a gross miscalculation--a failed attempt to update Allen's familiar persona for an angrier, more desperate time.
    • 35 Metascore
    • 33 Alan Sepinwall
    The fictionalized Chelsea occupies that irritating middle ground where she's not likable enough to be watchable when she's just existing, and yet neutered enough that her bad behavior isn't actually all that funny.
    • 36 Metascore
    • 33 Alan Sepinwall
    With the show so half-hearted about its subject matter, Teenage Daughter has to lean on the hackiest of punchlines.
    • 40 Metascore
    • 33 Alan Sepinwall
    It could be a problem Allen Gregory solves later on, either by softening its main character (and his dad) or by pushing supporting characters more to the forefront, but the version on display in the pilot is one I have no interest in ever watching again.
    • 26 Metascore
    • 33 Alan Sepinwall
    But because Lohan seems to be going to a costume party dressed as Taylor while Bowler's giving a performance, the whole thing is an imbalanced mess.
    • 44 Metascore
    • 33 Alan Sepinwall
    A clumsy, pretentious, cliché-riddled mess that just happens to have a woman at the center of things.
    • 42 Metascore
    • 33 Alan Sepinwall
    For most of the first two episodes, Tipton ... seems like a prisoner of the crummy show around her, while "Greek" alum McDorman has a character no actor could make likable.
    • 38 Metascore
    • 33 Alan Sepinwall
    The original Bad Judge pilot wasn't all that funny, but a show with the guts (and the appropriate channel placement) to go full "Bad Santa" with her as the lead could work very well. Instead, Bad Judge has been noted into oblivion. She's no longer quite so bad, but she's also not anything else. She's just... there.
    • 67 Metascore
    • 30 Alan Sepinwall
    By the third episode, though, we've gone off the rails with another low-level blackmailer somehow getting over on an employee at the supposedly powerful and secretive CTU, and with Jack getting caught up in a plot-delaying detour that's even dumber than the survivalist who held Kim hostage for a few episodes in season two.
    • 36 Metascore
    • 30 Alan Sepinwall
    "Ellie" has gone from being an avant-garde failure to a very average failure. [15 Apr 2003]
    • Newark Star-Ledger
    • 74 Metascore
    • 30 Alan Sepinwall
    If FX's other signature drama "The Shield" is a fine example of how cable's relaxed content restrictions can lead to more compelling drama, Nip/Tuck is a symbol of that freedom run amok. "The Shield" is heavy on shock value, but those shocks are there to serve some kind of larger purpose. When the Nip/Tuck writers throw in something raunchy or disgusting, it's simply because they can. [21 June 2004, p.27]
    • Newark Star-Ledger
    • 72 Metascore
    • 30 Alan Sepinwall
    For a show that's so scornful of our national obsession with beauty, Nip/Tuck seems awfully comfortable staying skin deep. Its wild collage of sexual and surgical plot twists creates the appearance of meaning, but very rarely does the show hold up to close scrutiny. In the moment, it's dazzling, but when you step away from the set, it's oddly forgettable. [20 Sept 2005, p.33]
    • Newark Star-Ledger
    • 65 Metascore
    • 30 Alan Sepinwall
    This is sledgehammer writing, and not very interesting writing at that. [13 Jun 2005]
    • Newark Star-Ledger
    • 46 Metascore
    • 30 Alan Sepinwall
    "Hell's Kitchen" cribs both the format of "The Apprentice" and that show's major problems. As with the two "Apprentice" sequels, the cast is filled with people who appear to have no clue what they're doing - or, at least, are placed in positions in which they'll inevitably fail so Ramsay can cuss them out. [30 Sep 2005]
    • Newark Star-Ledger
    • 40 Metascore
    • 30 Alan Sepinwall
    Who wants to watch a less funny, vaguely cuddlier House impersonator?
    • 73 Metascore
    • 30 Alan Sepinwall
    It at times seems like a pornographic parody of "The X-Files."
    • 57 Metascore
    • 30 Alan Sepinwall
    A lame new sitcom.
    • 28 Metascore
    • 30 Alan Sepinwall
    Having two nearly identical, equally mediocre sitcoms on the air at the same time isn't exactly a crime, but it seems an awful waste of someone's time and energy.
    • 40 Metascore
    • 30 Alan Sepinwall
    What the obnoxious "Cashmere Mafia" and now the dull Lipstick Jungle suggest is that it's not as easy to recreate the "Sex and the City" phenomenon as assembling three or four attractive actresses of a certain age and pairing them with a name producer from the HBO show.
    • 57 Metascore
    • 30 Alan Sepinwall
    The hallucinatory gimmick can only do so much for the same old stories.
    • 53 Metascore
    • 30 Alan Sepinwall
    "Runaway" is like a Frankenstein's monster stitched together from pieces of dead shows from both networks.
    • 48 Metascore
    • 30 Alan Sepinwall
    Basically, [the lead character is] a collection of every stereotypical romantic comedy and chick-lit trait, made especially annoying by Heche.
    • 54 Metascore
    • 30 Alan Sepinwall
    A gimmick in search of a show.
    • 35 Metascore
    • 30 Alan Sepinwall
    It abandons all of Kelley's strengths, like the legal setting and male bonding, and drowns itself in his weaknesses: women discussing their feelings, women flirting with men, women acting body-conscious... basically, anything involving the female gender.
    • 51 Metascore
    • 30 Alan Sepinwall
    The show inspires nothing but my apathy.
    • 29 Metascore
    • 30 Alan Sepinwall
    It's a very special, frustrating kind of bad, one with the power to actually change history.
    • 49 Metascore
    • 30 Alan Sepinwall
    All the gunplay, pedal-to-the-metal action and cartoon villains cheapen any serious talk of what's going on in the city.
    • 62 Metascore
    • 30 Alan Sepinwall
    Regardless of how promiscuous its obnoxious hero is, Californication remains a smug, unpleasant ego trip to nowhere.
    • 52 Metascore
    • 30 Alan Sepinwall
    Journeyman doesn't do anything especially interesting with its time-twisting premise. It's competently produced, but unless you have a tremendous amount of affection for McKidd left over from his work as the insane Lucius Vorenus on HBO's "Rome," it's skippable.
    • 57 Metascore
    • 30 Alan Sepinwall
    Jamie is our heroine, the one we're supposed to like and care about, but as played by British actress Ryan ("EastEnders," "Jekyll"), she's a mopey blank, badly upstaged every time Sackhoff makes one of her all-too-brief appearances as Corvus.
    • 42 Metascore
    • 30 Alan Sepinwall
    It is every organ transplant storyline you've ever seen before on "ER" or "Chicago Hope" or elsewhere, told in the most unimaginative fashion possible, acted out by a competent group of actors not given much to play.
    • 35 Metascore
    • 30 Alan Sepinwall
    They've assembled a cast suffering a major charisma deficit and given them wooden, cliche-riddled dialogue to deliver.
    • 31 Metascore
    • 30 Alan Sepinwall
    Despite its silly trappings, Farmer Wants a Wife is neither appalling nor unintentionally funny enough to merit sitting through yet another contrived dating show where the biggest prize would be for someone, anyone, to escape with a bit of their dignity intact.
    • 48 Metascore
    • 30 Alan Sepinwall
    It's not just familiar, but lazy.
    • 35 Metascore
    • 30 Alan Sepinwall
    Kath & Kim writers, meanwhile, seem to have nothing but contempt for their heroines. Kim is willfully ignorant, rude and obnoxious in a fashion that has no redeeming qualities, and Kath is mainly an unhappy blank who lets her daughter walk all over her.
    • 34 Metascore
    • 30 Alan Sepinwall
    If you've watched ABC at all this summer, you've essentially seen all Wipeout has to offer: people of various shapes, sizes and ages all falling face-first into the mud while trying to complete an obstacle course that's been designed to be all but impossible to finish unscathed.
    • 61 Metascore
    • 30 Alan Sepinwall
    There isn't a series here; just the pitch meeting for a very expensive, very loud, very dopey action movie.
    • 60 Metascore
    • 30 Alan Sepinwall
    The concept and the characters start to wear thin within an episode or two.
    • 42 Metascore
    • 30 Alan Sepinwall
    I will only say that Suspect Behavior is basically the same show, but other than Whitaker, it's a much less interesting cast and collection of characters, with Garofalo particularly bad.
    • 50 Metascore
    • 30 Alan Sepinwall
    Jenna Elfman (who plays a newspaper movie critic who gets pregnant after a one-night stand with the young guy on the left, played by Jon Foster) seemed like a loose, natural comedienne, but she's trying way too hard to sell the jokes here-possibly because she knows no one's going to buy them without a whole lot of help.
    • 48 Metascore
    • 30 Alan Sepinwall
    If you want a show with engaging characters and drama, and not just a public service announcement about the very real value of our country's nurses, then Hawthorne fails to deliver.
    • 49 Metascore
    • 30 Alan Sepinwall
    The show (which is shot on the old Stars Hollow set from "Gilmore Girls") seems like a WB show circa 2002--not one of the good ones, but a copy of a copy of a copy of one of the good ones.
    • 52 Metascore
    • 30 Alan Sepinwall
    If you're a teenage boy who loved "300"--or any other demographic who loved "300"--you may well dig all the digitized, slow-motion blood splurts, the abundant nudity (albeit with some of the full frontal coming from male characters as well as female) and the stylized, computer-generated backgrounds. But stay far away if none of those things make you say "Hells yeah!"
    • 41 Metascore
    • 30 Alan Sepinwall
    Mercy isn't just derivative; it's stridently, obnoxiously derivative.
    • 36 Metascore
    • 30 Alan Sepinwall
    It’s lazy, predictable and spectacularly tone-deaf.
    • 54 Metascore
    • 30 Alan Sepinwall
    Brothers is not anything you might classify as "good."
    • 52 Metascore
    • 30 Alan Sepinwall
    If you're going to do a show about fantasy football, then do it. Go big, or go home. As constructed, The League will leave no one happy.
    • 36 Metascore
    • 30 Alan Sepinwall
    However you view it--mediocre "House" rip-off, improbable law show or "Like Father, Like Son 2: Judicial Boogaloo"--you have to like Jimmy Smits an awful lot to make Outlaw a Friday appointment. I'm as devoted an "NYPD Blue" fan as they come, and even I'm not willing to make that leap.
    • 45 Metascore
    • 30 Alan Sepinwall
    [A] cheap, lazy, unfunny mess. Just depressing. Nothing to see here--and hopefully not for long.
    • 49 Metascore
    • 30 Alan Sepinwall
    This one's not working, and it doesn't matter how many fresh coats of paint or new showrunners they try to slap onto it.
    • 57 Metascore
    • 30 Alan Sepinwall
    It's all too frantic, too full of obnoxious people contorting themselves into stupid lies in the service of jokes that never quite land.
    • 47 Metascore
    • 30 Alan Sepinwall
    Though the series is based on the friendship Drescher developed with her real-life husband after he realized he was gay, there's not a second of the debut episode that feels like it has any connection to actual human behavior.
    • 52 Metascore
    • 30 Alan Sepinwall
    The whole thing is every bit as joyless, airless and uncomfortable as the marriage it's depicting--a show filled with miserable, unlikeable characters that doesn't provide them with writing remotely sharp enough to compensate.
    • 30 Metascore
    • 25 Alan Sepinwall
    It's a much bigger mess than '70s critics ever accused the original of being.
    • 55 Metascore
    • 25 Alan Sepinwall
    CGB plays more like a bad parody of Desperate Housewives.
    • 38 Metascore
    • 25 Alan Sepinwall
    The show around Louis is filled with a lot of creaky set-up/punchline humor, much of it based around forced double entendres.
    • 64 Metascore
    • 25 Alan Sepinwall
    The characters wander a spectrum from boring to irritating (guess which end the two teenage kids wind up on?), and the situation already feels unsustainable by the end of the first episode.
    • 37 Metascore
    • 25 Alan Sepinwall
    In a fall season with a lot of mediocre shows ... here's one of the few truly awful ones.
    • 29 Metascore
    • 20 Alan Sepinwall
    If it weren't for [Lithgow's] shameless bellowing, "20 Good Years" would be excruciating, instead of the (very) occasionally amusing hackfest it's turned out to be.
    • 67 Metascore
    • 20 Alan Sepinwall
    Can someone please wake up Charlie Sheen? I know he's tried to build an entire career, Dean Martin-style, on half-lidded apathy, but as one-third of the new CBS sitcom Two and a Half Men, he's practically comatose. [22 Sept 2003, p.T35]
    • Newark Star-Ledger
    • 38 Metascore
    • 20 Alan Sepinwall
    There’s nothing especially novel or insightful, let alone funny, about the show’s take on impending parenthood.
    • 23 Metascore
    • 20 Alan Sepinwall
    All of the characters speak in the same exposition-heavy voice; their individual quirks... are too calculated to be interesting; and the soundtrack is both too on-the-nose... and, for the most part, 10-15 years too old for the characters.
    • 48 Metascore
    • 20 Alan Sepinwall
    Pick your adjective--Predictable. Insufferable. Detestable. Tacky. --and it fits.
    • 57 Metascore
    • 20 Alan Sepinwall
    It's not funny, it's not engaging, it's not in any way, shape or form a good match with "Party Down," and I would advise those of you watching that show tonight to change the channel abruptly as soon as the end credits are done rolling.
    • 40 Metascore
    • 20 Alan Sepinwall
    Painful, pointless, obnoxious... I would almost rather have The Jay Leno Show back.
    • 28 Metascore
    • 20 Alan Sepinwall
    So they can't use the name, can't use most of the jokes and can't keep the tone of the Twitter feed. Remind me again why CBS wanted to make this into a TV show?
    • 43 Metascore
    • 20 Alan Sepinwall
    Of the three terrible new shows debuting Thursday night, the ABC drama My Generation is the most disappointing....the execution is just awful--leaden and predictable and eyeroll-inducing at nearly every turn.
    • 29 Metascore
    • 20 Alan Sepinwall
    It's dull and predictable and makes that old '60s time-travel series Time Tunnel look like the work of Robert Heinlein. [22 Sept 1997, p.33]
    • Newark Star-Ledger
    • 62 Metascore
    • 16 Alan Sepinwall
    It has pretensions of depth and ambition, but really all it's about is whatever cool thing Murphy and Falchuk wanted to do next, hurled at the screen with such reckless abandon that none of it works.
    • 25 Metascore
    • 10 Alan Sepinwall
    Larry, Henry and virtually every person to walk through "Happy Hour" are broad, obnoxious, lame caricatures, even by the standards of Fox's laughtracked sitcoms.
    • 27 Metascore
    • 10 Alan Sepinwall
    "Desire" will make you ashamed -- of society at large, if not yourself --whether you like it (chances: minimal) or not (chances: off the charts).
    • 40 Metascore
    • 10 Alan Sepinwall
    It's the first outright catastrophe of FX's post-"The Shield" era.
    • 33 Metascore
    • 10 Alan Sepinwall
    Big Shots, an obnoxious waste of time that's likely the season's worst new show.
    • 43 Metascore
    • 10 Alan Sepinwall
    The issue I have with the rape-by-orangutan scene in Unhitched is that it's not funny, nor does it even seem to be trying to be funny. It's lazy comedy, substituting shock value for wit and invention, and it typifies everything that follows on this lame excuse for a sitcom.
    • 21 Metascore
    • 10 Alan Sepinwall
    The real problem with the new Knight Rider, though, isn't that it's stupid (again, it's a show about a guy and his talking car) or that Bruening's terrible (the Hoff would be the first to say he's no master thespian). It's that it's a show whose time has long passed.
    • 36 Metascore
    • 0 Alan Sepinwall
    It is really, really atrocious. Not so-bad-it's-good. Just bad. Plain bad. Why am I watching this?-level bad.
    • 19 Metascore
    • 0 Alan Sepinwall
    When you strip away the wigs, makeup, padded bras and Ace bandages, there's nothing about Work It that suggests a show that will ever be appealing to either gender.

Top Trailers