Alessandra Stanley
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For 488 reviews, this critic has graded:
  • 57% higher than the average critic
  • 2% same as the average critic
  • 41% lower than the average critic
On average, this critic grades 0.8 points lower than other critics. (0-100 point scale)

Alessandra Stanley's Scores

Average review score: 64
Highest review score: 100 The Office (UK): Season 2
Lowest review score: 10 Hellcats: Season 1
Score distribution:
  1. Negative: 28 out of 488
488 tv reviews
    • 66 Metascore
    • 70 Alessandra Stanley
    This glossy, gossipy look at the Renaissance in the time of Machiavelli isn't a history lesson, it's a lurid family drama that happened to change the course of history.
    • 66 Metascore
    • 80 Alessandra Stanley
    Recount, an astute and deliciously engrossing film on HBO this Sunday night, retells the tale of Florida in all its bizarre and inglorious moments, from haggling over the “hanging chad” and “butterfly ballots” to the ruckus between the Florida secretary of state, Katherine Harris, and the Palm Beach County Canvassing Board.
    • 66 Metascore
    • 50 Alessandra Stanley
    The pilot begins promisingly with Max unfurling an Aaron Sorkin-like rant at a customer foolish enough to snap his fingers to get her attention. But after that there are too many one-liners about semen stains and orgasms that aren't clever, just pronounced very loudly to carry over the titters of a studio audience.
    • 58 Metascore
    • 50 Alessandra Stanley
    The series itself seems divided: at times a supersize fable told with portentous, and even turgid, simplicity, while at others, a sophisticated spoof that uses ancient legend to send up modern politics. And when a series cannot be both, it ends up being neither.
    • 66 Metascore
    • 80 Alessandra Stanley
    Shameless is deftly adapted and surprisingly appealing, crude, funny and also touching.
    • 66 Metascore
    • 70 Alessandra Stanley
    It's Gossip Girl tailored to this economy, with just enough campy suspense to be enjoyable.
    • 66 Metascore
    • 60 Alessandra Stanley
    Bates Motel has a talented cast and a memorable back story that guides, but doesn’t limit, the narrative, and at its best it’s intriguing and enjoyably grim. But even more than Norman, the series itself has a split personality, a Hitchcock classic grafted onto a much more mundane brand of suspense. Each new twist moves it further from “Psycho” and closer to Nancy Drew.
    • 66 Metascore
    • 80 Alessandra Stanley
    New Girl is charming and quite funny, but especially when compared with the other two shows, it seems quite old-school.
    • 66 Metascore
    • 70 Alessandra Stanley
    While it sounds like a one-joke conceit, and a sophomoric one at that, this HBO series is oddly beguiling, a downbeat screwball comedy in R-rated clothing.
    • 66 Metascore
    • 70 Alessandra Stanley
    There are new faces this season, and two of the better additions aren’t even journalists. Most important, the narrative this time around is driven by an overarching story line--a libel suit--that pulls viewers past the rocks and eddies of liberal piety. This revamped version of The Newsroom is no less preachy, but it’s a lot more fun to watch.
    • 40 Metascore
    • 60 Alessandra Stanley
    The question is not whether "3 Lbs" is familiar and predictable, but whether "3 Lbs" is entertaining. It is, and mostly because it is so familiar and predictable.
    • 66 Metascore
    • 80 Alessandra Stanley
    The Olympian spirit is all about relentless rigor, steely self-discipline and doing the impossible. Twenty Twelve celebrates sloth, inattention and surrender. There should be a gold medal for that too.
    • 66 Metascore
    • 60 Alessandra Stanley
    The movie has such cult status that it seems almost sacrilege to tamper with it for television, but as a series 10 Things is not terrible; it is even at times fun. It’s just not very inventive.
    • 66 Metascore
    • 70 Alessandra Stanley
    The show may not be quite as artistically or intellectually refined as HBO cult favorites like The Sopranos or Six Feet Under, but Platinum is well made, imaginative and fun.
    • 65 Metascore
    • 80 Alessandra Stanley
    Sons of Liberty isn’t history exactly, but it’s a well-made dramatization that brings history to life.
    • 65 Metascore
    • 70 Alessandra Stanley
    The first three episodes are beguiling enough to suggest that beneath the show's mystique there is a mystery worth puzzling. But there is also the mystery of how long viewers' curiosity can stay piqued.
    • 65 Metascore
    • 80 Alessandra Stanley
    [Mom is] both both wittier and sweeter than the new Fox show "Dads."
    • 57 Metascore
    • 60 Alessandra Stanley
    Imagine what “Boston Legal” would look like if Jerry Bruckheimer were in charge instead of David E. Kelley.
    • 65 Metascore
    • 70 Alessandra Stanley
    Mr. Baker keeps The Mentalist easy on the eyes and brain.
    • 65 Metascore
    • 50 Alessandra Stanley
    The premise of You’re the Worst is amusing, but the lines don’t match it. Once Gretchen and Jimmy get out of bed and back to their lives--he’s a writer, she’s a publicist--You’re the Worst gets a little better.
    • 65 Metascore
    • 70 Alessandra Stanley
    This Jane is not as morally spent and self-interested as Ms. Mirren's character, but she has an unusual and appealing roughness around the edges.
    • 65 Metascore
    • 60 Alessandra Stanley
    They each have a glorious, fearsome secret, and can truly confide only in one another. But it's not clear whether this series--a hybrid of family drama and graphic novel--can sustain interest once the premise is fully established.
    • 65 Metascore
    • 80 Alessandra Stanley
    "Prison Break"... is more intriguing than most of the new network series, and it certainly is one of the most original.
    • 65 Metascore
    • 70 Alessandra Stanley
    The pilot's mutilated corpse and offbeat clues are intriguing, and Ms. Sedgwick has a compelling screen presence, though her accent is too generic to pass as authentic.
    • 65 Metascore
    • 60 Alessandra Stanley
    The characters on Surviving Jack, like those on “Growing Up Fisher,” are more appealing and a little more nuanced. But they both are feel-good comedies that seem written to make their creators, more than the audience, feel good. Neither is as funny and durable as "The Middle."

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