For 1,595 reviews, this critic has graded:
  • 32% higher than the average critic
  • 4% same as the average critic
  • 64% lower than the average critic
On average, this critic grades 10.7 points lower than other critics. (0-100 point scale)

Brian Lowry's Scores

Average review score: 56
Highest review score: 100 O.J.: Made in America
Lowest review score: 10 Kings of South Beach: Season 1
Score distribution:
1595 tv reviews
    • 89 Metascore
    • 50 Brian Lowry
    The new season’s highlights feel more scattershot, and the plot offers less urgency.
    • 86 Metascore
    • 60 Brian Lowry
    What the production most sorely lacks, though, is a strong sense of cohesion, which often makes the hours play more like loosely assembled snapshots of the war without a compelling hook to pull the audience along. Nor do any of the key performers really distinguish themselves, dwarfed as they are by the general sense of pageantry--the sound and fury--that usually surrounds them.
    • 49 Metascore
    • 40 Brian Lowry
    The intent seems to be baiting a drama with a tantalizing marketing hook, but the resulting gumbo--despite a few promising ingredients--is all gristle, no beef.
    • 84 Metascore
    • 60 Brian Lowry
    This dark biker-gang drama certainly has its share of fans, but held up against the larger pantheon of cable dramas--including some of FX's recent and upcoming additions--Sons emulates its ride: Plenty noisy, but a relatively low-octane vehicle.
    • 73 Metascore
    • 60 Brian Lowry
    [It] won't earn many points for subtlety, but for aficionados of the horror genre it's the kind of stylish gorefest that should keep them up nights.
    • 83 Metascore
    • 60 Brian Lowry
    Part of that shortcoming relates to the structure, which deals with one story unfolding across all six hours, with a self-contained “B” player in each. Ultimately, the series is worth a look if not necessarily worthy of the whole journey, as Death doesn’t completely become Showtime.
    • 82 Metascore
    • 60 Brian Lowry
    At least initially, though, Legion is intriguing but well short of extraordinary.
    • 82 Metascore
    • 60 Brian Lowry
    The Honorable Woman certainly doesn’t evoke any enmity. The problem, rather, is that it doesn’t provide enough thrills or momentum to completely reward the viewing commitment of its friends.
    • 82 Metascore
    • 60 Brian Lowry
    The show is mildly likable, with Chris Geere and Aya Cash as the grudgingly involved central couple, who chafe at any suggestion they might settle down or become boring like, well, other people. The central joke, however, has a repetitive quality, and if series creator Stephen Falk brings a singular voice to the proceedings, it’s partially dulled by the fact that every character essentially speaks with it.
    • 48 Metascore
    • 50 Brian Lowry
    [The] first episode of this weeklong experiment does a creditable job building suspense, but it's hard to imagine the premise... possessing much staying power.
    • 80 Metascore
    • 50 Brian Lowry
    Not surprisingly, there are still worthy elements at work here, from the casting to the idea of a religious awakening and what amount to pilgrimages to Miracle in the wake of the departures. As with season one, however, the situations don’t progress in a cohesive manner, and the show feels equally disjointed in terms of style.
    • 80 Metascore
    • 60 Brian Lowry
    Occasionally beautiful and emotional, but also bleak and frustrating, Treme certainly hasn’t sullied that reputation. Yet despite the writer’s contention that it’s his best show, for all but those few who savored every note, this rumination on a beleaguered The Big Easy doesn’t belong in the august company of those earlier gems.
    • 80 Metascore
    • 60 Brian Lowry
    That's not a bad starting point for beginners, maybe, but this "History of Hollywood" feels a little ho-hum for those TCM viewers craving a more advanced course.
    • Variety
    • 80 Metascore
    • 50 Brian Lowry
    The history of the concept is, at this point, far more interesting than the series itself.
    • 79 Metascore
    • 60 Brian Lowry
    Tara" also acquires some new supporting players, but the show feels more disconnected in scattering to pursue these various plots. In addition, the evolving interaction between Tara and her alters as she becomes "co-conscious" with them feels like little more than split-screen gimmickry.
    • 79 Metascore
    • 50 Brian Lowry
    Director Alex Gibney’s take is most memorable for its generous use of early and unseen performance footage, but beyond the fancy footwork on display, the project, bloated at a full two hours, seldom gets under its subject’s flashy veneer.
    • 79 Metascore
    • 60 Brian Lowry
    It's a show for a very narrow slice of the channel's subscribers.
    • 79 Metascore
    • 50 Brian Lowry
    A mixed bag both creatively and conceptually. [24 Sept 2003, p.2]
    • Variety
    • 79 Metascore
    • 60 Brian Lowry
    Not that the show doesn’t yield some insights, moments and even laughs, but it generally falls within a limited range of people who talk a lot about their feelings and, in the case of the central couple, don’t let more general comforts get in the way of agonizing about their problems.
    • 53 Metascore
    • 50 Brian Lowry
    There's nothing howlingly bad here (except perhaps for a few of the supporting performances), but nothing particularly distinctive, either.
    • 78 Metascore
    • 60 Brian Lowry
    It's all played solidly enough, though so many elements seem plucked from other fare.
    • 78 Metascore
    • 60 Brian Lowry
    Still fun on its own terms, the encore takes an unexpected little gem and transforms it into “Murder, She (and She and She and She) Wrote.”
    • 78 Metascore
    • 60 Brian Lowry
    Manhattan certainly isn’t a bomb creatively speaking, nor is it yet the bomb, in latter-day vernacular. And perhaps appropriately, as admirable as some of its elements are, what’s missing in the opening hours is the elusive spark necessary to make them genuinely pop.
    • 39 Metascore
    • 50 Brian Lowry
    An inoffensive but not particularly distinguished half-hour.
    • 78 Metascore
    • 60 Brian Lowry
    While the first four parts (airing in two-hour blocks) of National Geographic Channel's sweeping nature film rival the majesty and wonder of Discovery's "Planet Earth" and "Life," the final three amount to DVD extras, padding out the exercise.
    • 78 Metascore
    • 60 Brian Lowry
    Essentially, Saul is an extended origin story, possessing Bad’s flavor and black comedy but at least initially lacking its emotional core. While that dictates a mixed verdict, the creative auspices nevertheless bode well.
    • 78 Metascore
    • 60 Brian Lowry
    Credit Jones and MacArthur with wringing about as much mileage as they can out of scenes where the two are thisclose to kissing before experiencing some spectacular interruption, but there’s only so far one can go on jokes that feel so well worn.
    • 78 Metascore
    • 60 Brian Lowry
    Goodman does a fine job of helping the experts to explain the science, from the use of graphics to the way news footage is woven into the film. But Emperor of All Maladies also stalls at times along the way, to the point where a more focused treatment and fewer anecdotal stories, condensed to two nights, would have likely been beneficial all around.
    • 78 Metascore
    • 60 Brian Lowry
    "Friday Night Lights" ultimately feels like one of those family programs middle America and conservatives pine for that too few of them actually bother to watch -- a portrait of decent, God-fearing folks wringing joy from America's game as an escape from their hardscrabble lives.
    • 78 Metascore
    • 40 Brian Lowry
    Before long, issues of pregnancy will assail both generations, giving birth to subplots that become so credulity-straining it's hard not to yearn for another song to relieve them.

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