Alessandra Stanley
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For 490 reviews, this critic has graded:
  • 58% higher than the average critic
  • 2% same as the average critic
  • 40% lower than the average critic
On average, this critic grades 0.7 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 490
490 tv reviews
    • 75 Metascore
    • 80 Alessandra Stanley
    The Knick is unusual and very good. It’s a great leap backward in time, yet another ambitious examination of at an important but often overlooked epoch in history.
    • 70 Metascore
    • 80 Alessandra Stanley
    Her comic style is familiar, but much of Ms. Ullman’s material is fresh and up-to-date.
    • 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.
    • 67 Metascore
    • 80 Alessandra Stanley
    The latest incarnation, Nikita, which begins on the CW network on Thursday, is a surprisingly sophisticated and satisfying adaptation.
    • 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.
    • 79 Metascore
    • 80 Alessandra Stanley
    This is a smart, informative and compassionate look at the artist known as the Godfather of Soul, whose music changed America.
    • 77 Metascore
    • 80 Alessandra Stanley
    Violence, like deficit spending, is a very American vice. “Dexter” is yet another temptation that is almost impossible to resist.
    • 62 Metascore
    • 80 Alessandra Stanley
    A sophisticated, suspenseful comedy of ill manners that seems much more like a Showtime or Netflix drama than a broadcast network offering.
    • 73 Metascore
    • 80 Alessandra Stanley
    It helps that Mr. Winters and Mr. Duhamel give performances that add some glints of complexity to their surface charm, and that the writers avoid many of the usual clichés. This is an engaging series about a likable bunch of co-workers that isn’t too sweet or predictable.
    • 63 Metascore
    • 80 Alessandra Stanley
    The pilot is terrific, and it was directed by Phillip Noyce, whose credits include the Harrison Ford movie “Clear and Present Danger” and the pilot of ABC’s “Revenge.”
    • 74 Metascore
    • 80 Alessandra Stanley
    As gripping as Steven Soderbergh's 2000 movie or the 1989 British mini-series. [26 Jan 2004]
    • The New York Times
    • 69 Metascore
    • 80 Alessandra Stanley
    The series has humor and charm beneath its facile message, in large part (no disrespect intended) to a subtle, winning performance by Ms. Elliott.
    • 67 Metascore
    • 80 Alessandra Stanley
    Purists may be irritated by the pilfering of James Dean's classic film "Rebel Without a Cause," including, in the show's second episode, an entire plot line in which Ryan (Benjamin McKenzie) runs away and plays house with Marissa and another young friend in the unfinished model house of a new development. Yet the empty swimming pool, used by the boys as a skateboarding rink, is a rather amusing homage to that 1955 movie by Nicholas Ray.
    • 78 Metascore
    • 80 Alessandra Stanley
    The series leavens wacky absurdity with acid wit and is very funny.
    • 88 Metascore
    • 80 Alessandra Stanley
    This is an elliptically told tale, and it takes a few episodes for the plot and the characters to pick up steam.
    • 78 Metascore
    • 80 Alessandra Stanley
    It is a believable, sharply observed portrait of ordinary men who, through all-too-common bad breaks and missteps, feel that they are backsliding.
    • 72 Metascore
    • 80 Alessandra Stanley
    It is a smart, intense thriller inspired by the Innocence Project.
    • 69 Metascore
    • 80 Alessandra Stanley
    A memorable comedy about a man trying to be forgotten.
    • 85 Metascore
    • 80 Alessandra Stanley
    The multitude of exegeses and theories devoted to major plot twists and minor details attest to the series’s enduring egghead appeal.
    • 80 Metascore
    • 80 Alessandra Stanley
    Deadwood is not easy to watch. There is no musical score; the settings are relentlessly dull and depressing; and it is shot almost entirely in shades of sepia and gray. The series takes its own time establishing the characters, and the dialogue is muffled and indistinct. But once the story takes hold, it is hard to turn away. Like laudanum, a good western can be habit-forming.
    • 74 Metascore
    • 80 Alessandra Stanley
    HBO does an expert job of turning Ms. Fisher's 2 hour and 20 minute monologue into a documentary, with only a few, artfully chosen embellishments.
    • 79 Metascore
    • 80 Alessandra Stanley
    In other words, even the soapier subplots of Lights Out are sparingly written and tautly filmed, and the story never strays too far from the violence that is at its core.
    • 88 Metascore
    • 80 Alessandra Stanley
    One weakness in the show is that each character has a showoff story line that splinters the narrative rather than unites it. And sometimes the hyper-arch tone gets a little tiresome. But only sometimes. Mostly, a talented cast and funny, imaginative writing make each episode a pleasure. Arrested Development is watched by critics, but it deserves a bigger, perhaps better audience.
    • 80 Metascore
    • 80 Alessandra Stanley
    Generation Kill, which has a superb cast and script, provides a searingly intense, clear-eyed look at the first stage of the war, and it is often gripping. But like a beautiful woman who swathes herself in concealing clothes and distracting hats, the series fights its own intrinsic allure.
    • 72 Metascore
    • 80 Alessandra Stanley
    There are very few series for young adults that deal with race as brazenly and defiantly as "The Boondocks."
    • 69 Metascore
    • 80 Alessandra Stanley
    It's impossible not to root for the Bruce family. But it's just as hard not to dread the series's success.
    • 79 Metascore
    • 80 Alessandra Stanley
    All three characters are highly appealing, but the charm of the show lies in the delicate balance of engrossing drama and disarming humor; the series is not campy or self-conscious, it’s witty in an offhand, understated way.
    • 76 Metascore
    • 80 Alessandra Stanley
    These four women are amusing, at times poignant, but not easily likable. The show is caustic and hard to watch, but harder to turn off. In Season 3, their solipsism and callousness are even more pointed, all the more shocking, and still quite funny.
    • 59 Metascore
    • 80 Alessandra Stanley
    Las Vegas is as flattering to companies like the MGM Mirage Inc. as "The Love Boat" once was to Princess Cruises. Yet the show still manages to be slick, fast-paced and engaging, a remake of the remake of "Ocean's Eleven," in which all the good-looking people work for the casino, not against it.
    • 45 Metascore
    • 80 Alessandra Stanley
    Its a clever and engaging reinterpretation by Bill Gallagher, who shaped the script to contemporary tastes and sensibilities--notably, a postmodern fatigue with ideology and big thoughts.

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