Allison Keene
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For 99 reviews, this critic has graded:
  • 52% higher than the average critic
  • 9% same as the average critic
  • 39% lower than the average critic
On average, this critic grades 7.9 points lower than other critics. (0-100 point scale)

Allison Keene's Scores

Average review score: 57
Highest review score: 80 Naked & Afraid: Season 1
Lowest review score: 10 Married at First Sight: Season 1
Score distribution:
  1. Positive: 45 out of 99
  2. Negative: 9 out of 99
99 tv reviews
    • 69 Metascore
    • 80 Allison Keene
    After going from the humble creation of Superman to the filmic juggernauts like Avengers, those with a growing interest in the world of comics should leave satisfied with their new knowledge, while veteran fans will likely be drawn in by a strong sense of nostalgia, particularly given the ample amount of archival footage.
    • 75 Metascore
    • 80 Allison Keene
    Boston’s Finest is a sleek and engaging work that is a world away from Southie Rules or even Cops, but it fits in perfectly with TNT's love of Law & Order.
    • 70 Metascore
    • 80 Allison Keene
    Though the character-driven docu-series format the show takes on may look run of the mill, beyond its surface appearance Generation Cryo is genuinely engaging.
    • 72 Metascore
    • 80 Allison Keene
    The series, which moves along at an engrossing clip, and never allows its characters easy outs, clearly has aspirations to break out of legal-thriller and activist-centric conventions, and should appeal to crime fans as well as those who enjoy a novelistic approach to television.
    • 86 Metascore
    • 80 Allison Keene
    The Trip to Bountiful hits all the right sweet and nostalgic notes without becoming saccharine or overdone.
    • 74 Metascore
    • 80 Allison Keene
    Travel shows have been done and done again, and it's hard to find one that breaks new ground. The most important element is usually not the scenery but the host, and BBC America found a great one in the British actor Dominic Monaghan.
    • 75 Metascore
    • 80 Allison Keene
    The series' humor is both audacious and intelligent, and the combination of that familiar Warner Bros. animation style coupled with modern references (all through a sendup of the style's original formulas) leaves no mystery for Mike to solve.
    • 62 Metascore
    • 80 Allison Keene
    Naked and Afraid has a forthright feel to it that borders on a psychological and physical study, even though participants remain with a production crew, unlike the grueling series Survivorman, which featured just one man with a camera.
    • 81 Metascore
    • 80 Allison Keene
    The actors are passionate, but not experts. They let the scientists, the workers, the officials, and others tell their stories. It's part of Years of Living Dangerously's refreshing and inclusive tone: it's not important how one gets to this point of understanding the issues, but simply that one does.
    • 71 Metascore
    • 80 Allison Keene
    NY Med continues to do an excellent job of creating a tone that mixes humor with real drama.
    • 66 Metascore
    • 80 Allison Keene
    Heroes of Cosplay is a worthy journey into a world few may be familiar with.
    • 67 Metascore
    • 80 Allison Keene
    Hotwives is knowing and funny, and a great showcase for many talented comedians who both star in it and appear as guests.
    • 63 Metascore
    • 70 Allison Keene
    A surprising drama about ethics, aiming to be more than a mere montage of climaxing clients.
    • 62 Metascore
    • 70 Allison Keene
    The Presidents' Gatekeepers is an engaging watch for most, though some segments are more accessible and interesting than others, especially when the history and details of those others become dense and the names become unfamiliar for younger audiences.
    • 62 Metascore
    • 70 Allison Keene
    Matador isn't a comedy, but it has its moments of levity, which is smart--the show shouldn't take itself too seriously, and those very Rodriguez (who directed the pilot) touches of sudden jump cuts and cartoonish violence work perfectly with the overall aesthetic.
    • 72 Metascore
    • 70 Allison Keene
    There's still plenty of room for Hindsight to grow, and plenty of reasons to stick around for it to happen. Crucially, the show is ultimately more than the sum of its scrunchies, beepers and AOL accounts.
    • 57 Metascore
    • 70 Allison Keene
    It is at times charming and different, and a good fit for Lifetime. It just falls short of a higher calling.
    • tbd Metascore
    • 70 Allison Keene
    Despite a strong inaugural episode, there are still some kinks to be worked out. Wheaton, channeling a nervous energy, only appeared to relax fully during a few of his jokes, but much more of the material felt stilted. It's a small thing that will surely only get more streamlined as Wheaton settles into the role.
    • tbd Metascore
    • 70 Allison Keene
    The miniseries manages to be both thought-provoking and at times emotional, doing well at illustrating common skepticisms of Christianity while also showing Barabbas' own transformation.
    • 54 Metascore
    • 70 Allison Keene
    The decision to focus just on Houston's most meteorically successful years--where, for a little while, she probably was happy--makes Whitney a fairly flattering portrait that is only lightly a cautionary tale.
    • 54 Metascore
    • 70 Allison Keene
    As questionable as the setup sounds, it actually strikes the right tone by neither making fun of nor blindly praising the competitors for their quirks (of which they have many).
    • 67 Metascore
    • 70 Allison Keene
    This collaborative atmosphere and casual framework may keep Wizard Wars from being the battle royal of Adventure Time's Wizard Battle, but it's still fun, as its performers manage to mutate the mundane into magic.
    • 58 Metascore
    • 70 Allison Keene
    It plays a little bit, in spirit, like the HBO series How to Make It In America. It is in that way that it feels both fresh and familiar--the scene is new, but the story is old. There's drama, but not as much trash.
    • 71 Metascore
    • 70 Allison Keene
    The Face borrows plenty of concepts from other modeling and competition shows, but it manages to throw enough fashion and dramatic interest at viewers to be engaging.
    • 53 Metascore
    • 70 Allison Keene
    It will certainly fill viewers minds with misshapen mythology, but does so in a fairly charming, family-friendly way.
    • 55 Metascore
    • 70 Allison Keene
    Mostly though, Extreme Guide to Parenting is not interested in challenging the parenting choices of the families it features. This is pure exhibition, and there's no denying that its appeal is just as strong as that of any other series detailing the strangeness of nontraditional lifestyles.
    • 69 Metascore
    • 70 Allison Keene
    With its seaside setting and lighthearted fun, Clear History is a kind of pleasant, late-summer gazpacho, enjoyed to the sounds of Chicago and debates about whether there is a racial preference between black and white dwarves.
    • 50 Metascore
    • 70 Allison Keene
    Witches of East End doesn't overdo the mythology (like Sleepy Hollow) or make it all about the sex (like True Blood). Instead, it set up a complicated interpersonal world, a plausible (for this kind of show) backstory, and then populated the town with really good-looking people.
    • 66 Metascore
    • 70 Allison Keene
    Ultimately, Brooklyn DA is an intimate look at urban prosecutors that, even though it can feel a little too clean, certainly stands out among unscripted summer programming.
    • 61 Metascore
    • 70 Allison Keene
    While Eat: The Story of Food is educational, it can also be silly and glib.
    • 71 Metascore
    • 70 Allison Keene
    Fish-eye lenses and rotating cameras don't feel at home here as in other installments, and things aren't creepy so much as grotesque. Still, there are a number of decent effects and a healthy dose of humor that keep things moving along in an entertaining way. Eventually, the many stories find their way together, which helps propel the premiere to its promising finish.
    • 73 Metascore
    • 70 Allison Keene
    The Writers' Room is a fun look at the mostly unknown faces who have created some of the best shows on TV, though The Writers' Room might not have been wrong to expand the format and really delve deep into the nuances of the creative process of the specifics of certain shows, even at the risk of alienating viewers who weren't intense fans.
    • tbd Metascore
    • 70 Allison Keene
    Ultimately, Funniest Wins is full of the requisite second-hand embarrassment and awkwardness that's expected from any comedic competition series, but it also delivers some genuine chuckles.
    • 51 Metascore
    • 70 Allison Keene
    Spelling and Garth were and are [a real team]. Mystery Girls is silly, with broad humor, but the nostalgic appeal of these two broads being back together is no mystery.
    • 66 Metascore
    • 70 Allison Keene
    Showville is far more upbeat and encouraging than that series ["Small Town Security"], and its shift in location from week to week keeps things fresh.
    • 60 Metascore
    • 70 Allison Keene
    Its pilot was a solid start, although, despite the intriguing premise, the episode also raised a greater number of questions--more about logic than the show's mythology--than it answered.
    • tbd Metascore
    • 70 Allison Keene
    The result is a family-friend mixture of competition series suspense and a genuine desire to see the kids succeed. Though there are a few eye roll-worthy moments from some ("I believe I have a very sophisticated palette," one boy says), others are delightfully able to keep up with Ramsay's quips.
    • 66 Metascore
    • 70 Allison Keene
    In its scripted segments, the series is stylishly produced, and its wit is dry while its tone is bubbly. Not every segment is a hit, but the ones that are deserve to be quoted, repeated and discussed.
    • tbd Metascore
    • 70 Allison Keene
    Child Genius is in most ways just a generic competition show, with no particular angle except to expose some Tiger parents and the kids they smother.... What makes Child Genius entertaining, though, is the same thing that drives the very good kid-focused competition series MasterChef Junior. They are talented, likable and can make viewers as anxious as their parents.
    • tbd Metascore
    • 70 Allison Keene
    On the Menu is essentially a fun and fast-paced hour of mouth-watering creations that, for once, can actually be consumed by the public at large.
    • 69 Metascore
    • 70 Allison Keene
    The comedy is at its best when Babylon behaves like a real melodrama--with tropes taken to exaggerated extremes — rather than relying too much on the visual gags of a bygone era.
    • 47 Metascore
    • 70 Allison Keene
    Ultimately, even with so many competition shows on the air that have done almost every formula there can be, The Hero finds a way to make things feel fresh and interesting, with Johnson as a great anchor.
    • 55 Metascore
    • 70 Allison Keene
    Lizzie Borden Took An Ax: Christina Ricci gave some whacks; and when it all was said and done, it was in fact quite creepy fun.
    • 51 Metascore
    • 70 Allison Keene
    Houdini takes a big bite, and its journey is often fun and fantastical, but its goofy sensibilities would have benefited from a sturdier structure, and what it wants its audience to take away from its subject’s life story is unclear. That said, the miniseries nails the most important thing: spectacle.
    • 59 Metascore
    • 60 Allison Keene
    Despite a shaky start, The Quest actually becomes something interesting--or at least different--within the reality landscape.
    • 70 Metascore
    • 60 Allison Keene
    Despite its overly talky nature, those interested in how productions get off of the ground will be fascinated by the details, which The Chair doesn't miss one moment of (including many, many phone calls and Skype conversations). Others may find it overly tedious and return only to view the final products.
    • 59 Metascore
    • 60 Allison Keene
    The Watsons are a fine family to spend two hours with (Wood Harris is a particular stand-out as the jovial father), but a story that instead reveals more personal acts of heroism might have elevated its impact just that much further.
    • tbd Metascore
    • 60 Allison Keene
    Capitalizing on Latifah, though, should be paramount, and the one thing that might make it stand out would be more segments dedicated to her discussing current issues, showcasing her personality.
    • 64 Metascore
    • 60 Allison Keene
    While the collection doesn't necessarily bring anything new to the table in its quick portrayals, it does at times successfully ignite an emotional response (a trait that also makes it exhausting.)
    • 35 Metascore
    • 60 Allison Keene
    Impressively, writers Tim Hill (SpongeBob SquarePants) and Jeff Morris (The Honor System) do Lifetime's meme-centric movie a great service by making it constantly snarky and self-aware. Everyone is in on the joke that it's ridiculous, and the movie plays up to that while still executing a workable plot.
    • 61 Metascore
    • 60 Allison Keene
    Despite the unfortunate monotone narration of Pulitzer Prize winner Mark Konkol, whose script is full of hard-boiled cliches ("must be something in the water," when speaking of Chicago's gangland past) and odd phrasing ("school closings and budget cuts: the ultimate buzzkill"), and time spent with Emanuel that is occasionally charming, but often feels like fodder for a campaign ad, Chicagoland has more pluses than minuses.
    • 69 Metascore
    • 60 Allison Keene
    Though Creature Shop's competition approach might be tiresomely formulaic (all stemming from the Project Runway idea tree), the bottom line is it's still a series that promotes creativity.
    • 52 Metascore
    • 60 Allison Keene
    There are so many twists and arbitrary rules to the competition that it can certainly be disconcerting for viewers.
    • 61 Metascore
    • 60 Allison Keene
    As a 40-minute expansion on the first 10 minutes of the original film, the action can seem needlessly drawn out and played for time rather than for narrative sense. But the occasionally snappy dialogue, twisted humor and cinematic direction--which are all in Rodriguez's hallmark style--bode well for the rest of the series.
    • 45 Metascore
    • 50 Allison Keene
    The bad wigs and fluctuating accents are counteracted by Mary Harron's dream-like direction, and the emphasis on plot points rather than character development is occasionally shaken by some of the noteworthy performances (such as Virginia Madsen as Smith's hard-bitten mother).
    • tbd Metascore
    • 50 Allison Keene
    Like NBC's faux-reality show Siberia, Surviving the In-Laws feels too much like a standard issue reality show when it's not, especially because it's also not trying to be a satirical send-up of the format (like Yahoo's Bachelor-parody web series Burning Love). Its impression is ultimately a muddled one.
    • 39 Metascore
    • 50 Allison Keene
    Ultimately, both series [Sinbad and Primeval: New World] are the TV equivalent of summer beach reading: popcorn fun while they last, but don't expect a lasting impression.
    • 60 Metascore
    • 50 Allison Keene
    Ultimately, both series [Sinbad and Primeval: New World] are the TV equivalent of summer beach reading: popcorn fun while they last, but don't expect a lasting impression.
    • 47 Metascore
    • 50 Allison Keene
    There are aspects of Southie Rules that are fun, but ultimately it feels as hollow as an emptied tin of meatballs.
    • 71 Metascore
    • 50 Allison Keene
    It's about a fascination with otherness, which Spurlock indulges in but never manages to make significant.
    • 51 Metascore
    • 50 Allison Keene
    The show's great cast gives it a lot of potential, and they work hard in the pilot to make their thin material viable.
    • 32 Metascore
    • 50 Allison Keene
    Aaliyah: The Princess of R&B simmers along pleasantly, but never finds its fire.
    • 44 Metascore
    • 50 Allison Keene
    If the purpose of the series is to explore a sub-culture lifestyle foreign to most Americans, Discovery's quasi-documentary approach (with educational explanations about Amish community structure, at least in the first episode) does a fair job of covering that. But Hot Snakes Media, who produced the series--and also helmed the controversial Breaking Amish--can't seem to help themselves in adding a kind of "...gone wild!" tag to the end of the endeavor, obliterating anything that feels informational.
    • 27 Metascore
    • 50 Allison Keene
    Does Someone Have to Go? is not easy to watch, though it is engrossing to see how alliances are formed and trust is broken.
    • 50 Metascore
    • 50 Allison Keene
    Though the movie is fine as a sweet, inspirational tale about determination through injury and many other stumbling blocks, nothing within it is as moving as the final montage, which is just actual footage from Douglas' incredible gold medal-winning London performance.
    • tbd Metascore
    • 50 Allison Keene
    A Royal Christmas hits all the notes it should in a diverting way: there's an obligatory ball preparation montage, Emily learning how to waltz thanks to Victor, as well as a show-stopping staircase descent. Lessons are learned, snow falls, and love prevails.
    • 46 Metascore
    • 50 Allison Keene
    Everything in the Novacks' life is portrayed as being over the top, and Beautiful & Twisted's setup certainly matches that tone. What doesn't quite match up is the acting. Lowe's narration fits as apologetically irreverent, but Vega's performance is somewhere between Showgirls and a Dateline special.
    • tbd Metascore
    • 50 Allison Keene
    Williams and Grier do what they can with their meager narratives, but it's when the ladies come together and start singing, or even just banter like the friends they are, that the movie really comes together.
    • 48 Metascore
    • 50 Allison Keene
    The Moment produces some genuine emotion, but a lot of it feels too predictable and, worse, generic.
    • 52 Metascore
    • 50 Allison Keene
    Mostly, it feels like a big missed opportunity.
    • 62 Metascore
    • 50 Allison Keene
    Town of the Living Dead feels far too planned when it comes to its cast of characters and knowing one-liners.
    • 54 Metascore
    • 50 Allison Keene
    Most of those who are chosen to compete seem worthy of winning, despite questionable polish or know-how. But also like The Job, any competition show that lacks celebrity judges, viewer ability to interact, or even the ability to see any competition besides pleading, may not ultimately draw much of a crowd.
    • 45 Metascore
    • 40 Allison Keene
    While Rush is very much in USA's wheelhouse, bearing passing resemblance tonally (that is, quick and breezy) to series like Royal Pains and Burn Notice, it doesn't come together as well as some of the network's more memorable series.
    • 48 Metascore
    • 40 Allison Keene
    If viewers are drawn to the familiar faces of the cast members individually (Alley has a number of celebrity friends set to appear this year) and are happy to see them back on TV, then the show is a late-evening diversion at best. At worst--and more likely--it might end up as another genre struck off from Alley's valiant list of big efforts to return to the small screen.
    • tbd Metascore
    • 40 Allison Keene
    Under the manic editing, dance floor strobe lights, forced drama and snippets of the New Kids singing, dancing and shirtless, is a documentary that does what a good documentary should strive for: to shine a light on some aspect of culture that hasn't previously been examined.
    • tbd Metascore
    • 40 Allison Keene
    The Good Life feels like the late HBO series Entourage, with Gipp, Khujo and T-Mo filling in the Johnny Drama, E and Turtle positions around Green's Vincent Chase. The series' first three episodes though are dragged down by too many forced or set-up scenarios that are stilted.
    • 63 Metascore
    • 40 Allison Keene
    The 100 has a lot of interesting things to play with in terms of its narrative and world-building, but it chooses to gloss over them.
    • 52 Metascore
    • 40 Allison Keene
    My Crazy Beautiful Life doesn't feel fresh but instead is more akin to a standard tour documentary of a band you used to like.
    • tbd Metascore
    • 40 Allison Keene
    While the show has managed to avoid a full-out belly flop, that's still a long, long way from being a perfect 10.
    • 33 Metascore
    • 40 Allison Keene
    Lochte is all over the place in the series, which tags along with him on his exploits (answering the title question with a simple "let's watch and see").
    • 43 Metascore
    • 40 Allison Keene
    Though Whodunnit? wants to give ordinary people the ability to step up and use their brains to solve a crime, the results (as of the first episode) are either painful or unintentionally funny.
    • 51 Metascore
    • 40 Allison Keene
    Despite the shaky-cam usage, jarring jump cuts and incomprehensible editing that complicates already head-spinning plots (where phrases like "Chinese hackers" are thrown out casually, but never followed up on), Taxi Brooklyn is still unlikely to fool viewers into thinking it is anything more than a middling show on a midweek night.
    • 48 Metascore
    • 40 Allison Keene
    Freakshow is the real disappointment. It has managed to do something truly extraordinary: making the strange and amazing simply boring.
    • 37 Metascore
    • 40 Allison Keene
    Taxidermy would have made a great subject of a documentary special. But as a competition show? It's as lively as the animals displayed.
    • 48 Metascore
    • 40 Allison Keene
    Though the series may have some passing connection to Arrested Development in terms of setup, it isn't able to capture the depth or tone or charm that elevates a comedy out of just being mediocre to being something really great. That requires more work.
    • 48 Metascore
    • 40 Allison Keene
    Unfortunately, there's nothing about the series' style or format that makes it stand out among other family docudramas. And while sometimes the interactions feel natural, often they are noticeably stilted; there's a keen sense of the proceedings being carefully crafted.
    • tbd Metascore
    • 40 Allison Keene
    Overall the show lacks a certain spark. Pacing is also an issue: The show feels both too long and too short
    • tbd Metascore
    • 30 Allison Keene
    Most of Jenny McCarthy's Dirty Sexy Funny is filled with stale jokes, wrapped in vulgarity for its own sake. It doesn't equal funny, and as a showcase for female comics on a male-skewing channel in particular, it's a tragically wasted opportunity.
    • 30 Metascore
    • 30 Allison Keene
    Despite a tension-building soundtrack and quick jump cuts and editing, nothing can help the show rise out of its tedium.
    • 54 Metascore
    • 30 Allison Keene
    Eye Candy is fractured and campy, with mind-numbing dialogue and a total lack of plausibility.
    • 31 Metascore
    • 30 Allison Keene
    While Louisianians might feel compelled to tune in just to see what's been going on with Edwards, A&E might want to start looking for their return receipt for this Louisiana purchase.
    • tbd Metascore
    • 30 Allison Keene
    The show's sadness may or may not lift once the group reunites and heads south, but so far it's simply depressing.
    • tbd Metascore
    • 30 Allison Keene
    Love Prison is prevented from being an island vacation because of the rule that couples can only spend one hour outside each day. Without anything else in the house besides food and drinks, it makes for a long and difficult week; it's even more difficult, though, to find a reason to watch it.
    • 31 Metascore
    • 30 Allison Keene
    While most of the interactions feel canned, or are just cheap jokes about Anglo versus Mexican culture, there are occasionally a few moments that break forth with genuine humor, mostly thanks to Trejo and Zayas.
    • tbd Metascore
    • 10 Allison Keene
    Not only is it another tired portrayal of Southern stereotypes, but it's also inexcusably poorly executed.
    • tbd Metascore
    • 10 Allison Keene
    It's not that the idea of arranged marriages (or matchmaking) is anything new, certainly, but the show takes it to unnecessary extremes, devaluing any purported loftier purpose.

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