Cynthia Fuchs
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For 112 reviews, this critic has graded:
  • 38% higher than the average critic
  • 4% same as the average critic
  • 58% lower than the average critic
On average, this critic grades 4.7 points lower than other critics. (0-100 point scale)

Cynthia Fuchs' Scores

Average review score: 60
Highest review score: 100 The Flag
Lowest review score: 30 Sarah Palin's Alaska: Season 1
Score distribution:
  1. Positive: 42 out of 112
  2. Negative: 6 out of 112
112 tv reviews
    • 88 Metascore
    • 100 Cynthia Fuchs
    While The Flag ponders the whereabouts of Shirley and Spiro’s flag, it raises other, broader, variously resonant questions too, questions concerning how symbols and icons become significant, as well as how stories are told and myths are disseminated.
    • 79 Metascore
    • 90 Cynthia Fuchs
    At the same time [Eros Hoagland is taking pictures], his process is also the subject of a picture--shaped in part by the remarkable work of photographer and cinematographer Jared Moossy, who shoots all four episodes of Witness--a picture that shows both context and effect, the sort of broad view that might emerge from the most specific images.
    • 78 Metascore
    • 90 Cynthia Fuchs
    Herzog listens and interjects his own helpfully perverse insights.
    • 88 Metascore
    • 90 Cynthia Fuchs
    Treme sketches and interweaves stories and desires, hopes and disenchantments.
    • 79 Metascore
    • 90 Cynthia Fuchs
    On Freddie Roach [is] Peter Berg's extraordinary six-part HBO series.
    • 74 Metascore
    • 80 Cynthia Fuchs
    What is abundantly clear by this brutal, swift, and exquisitely yucky scene is True Blood is back, doing what it likes to do best, that is, dumping you into yet another crisis with precious little context or buildup.
    • 77 Metascore
    • 80 Cynthia Fuchs
    Even as all of these seeming oppositions are set up, the show insists on the blurring of lines, the bridges as well as the borders.
    • 85 Metascore
    • 80 Cynthia Fuchs
    Paul’s sessions this time around are sometimes soapy--as they were last year--but they are always mesmerizing.
    • 57 Metascore
    • 80 Cynthia Fuchs
    The girls, though, look promising. Granted, the initial Sarah-Jamie fight scene occasions the series’ first spectacular special-effectsy scene.
    • 73 Metascore
    • 80 Cynthia Fuchs
    This idea--that Sam is experiencing his coma as an “alternate reality” via a TV show--is wickedly clever. It’s a question as to whether Life on Mars can sustain and develop this idea, which is really an investigation of limits.
    • 83 Metascore
    • 80 Cynthia Fuchs
    Each of the firefighters here reveals a nuanced, complex mindfulness, a sense that what they do is dangerous, but also rewarding, exciting, important, and, in a word, what they do.
    • 65 Metascore
    • 80 Cynthia Fuchs
    Based on co-creator Tom Perrotta’s 2011 book, The Leftovers imagines a range of responses (and too often, responses accompanied by anxiety-making piano or violin trills).
    • 72 Metascore
    • 80 Cynthia Fuchs
    The series takes some time to put this team together, even in the same area of New York. And while you’re waiting for that plot turn, you’re treated to a series of lurid images, from yucky to jolting.
    • 75 Metascore
    • 80 Cynthia Fuchs
    Interactions are rendered in smart, layered compositions, with elements that crowd and obscure, colors that distract and focus your attention. Such plot intricacies might appear contrived, but twisting even in the first episode suggests otherwise.
    • 78 Metascore
    • 80 Cynthia Fuchs
    The perversity of this connection cannot be overstated (Smits makes Miguel both charismatic and creepy, often in the same breath). Dexter sees it, though he also yearns for the friendship, the brotherhood, even.
    • 80 Metascore
    • 80 Cynthia Fuchs
    Like Wright’s book, the series is disjointed and disturbing, a story of youthful workers who are underprepared, underequipped, and underinformed.
    • 62 Metascore
    • 80 Cynthia Fuchs
    Drawing parallels between the city’s decadence and that of its inhabitants is a fairly obvious point to make, so using it for more than just establishing shots is overkill, specifically pulling the viewer out of emotional moments. It’s a small quibble, though, and thankfully, the only complaint about this new season so far.
    • 69 Metascore
    • 80 Cynthia Fuchs
    In HBO's miniseries Mildred Pierce, beginning on 27 March, she embodies the sort of ambition and resilience that might seem ideal during a depression-or even a great recession. That is, she's a function of her time (the one first imagined for her by James M. Cain) as well as ours.
    • 81 Metascore
    • 80 Cynthia Fuchs
    Weight of the Nation encourages viewers to feel responsible for their own lives and to make informed choices.
    • 84 Metascore
    • 80 Cynthia Fuchs
    If the premise is standard--an excellent cop is dragged back in, just when she's headed out, in this case, from the Northwest's renowned rain to California's sunshine--the details are insistently odd and creepy.
    • 79 Metascore
    • 80 Cynthia Fuchs
    Valentine Road features a range of interview subjects who voice conflicting concerns and express their discontents, but it also resists casting judgment against one person or another.
    • 75 Metascore
    • 80 Cynthia Fuchs
    Terriers teases out both the pleasures and the perversities.
    • 78 Metascore
    • 80 Cynthia Fuchs
    As much as the series' pitch seems clear--it's another period series, with terrific design details, long story arcs, and complex performances--it is also something else, a reframing of what it might mean to be Americans, then and now.
    • 73 Metascore
    • 80 Cynthia Fuchs
    The hallmark of all three films has been their understanding and embrace of subjects' self-presentations./
    • 77 Metascore
    • 70 Cynthia Fuchs
    The actor’s embodiment of seemingly counterintuitive emotions is riveting, as House’s placidity demonstrates sorrow, while anger represents a kind of giddy id. Even if House isn’t offering new stories or themes, it remains a terrific showcase for a terrific performer.
    • 68 Metascore
    • 70 Cynthia Fuchs
    Again and again, Ethel insists she doesn't like to "talk about" her self, doesn't like to be introspective. And so the film offers images for the rest of us to parse, public performances that may or may not reveal what we want to see.
    • 68 Metascore
    • 70 Cynthia Fuchs
    It's more subtly, and more forcefully too, a quest for understanding, specifically an understanding of how the world works.
    • 57 Metascore
    • 70 Cynthia Fuchs
    The soap operatic set-up is both efficient and florid, laying out both familial continuity and class distinctions.
    • 57 Metascore
    • 70 Cynthia Fuchs
    Even as Dollhouse sounds like other TV shows and movies, it is also utterly strange, its premise literally ridiculous and intriguingly metaphorical.
    • 75 Metascore
    • 70 Cynthia Fuchs
    While the designated flawed hero John espouses an essential grasp of the purpose of medicine and the workings of disease (“Despite what you may believe,” he tells Cornelia, “Sickness isn’t a result of poor character, germs don’t examine your bankbook”), he’s also stymied, by his own prejudices as well as money concerns. That these might take him in different directions suggests the series has some sense of the difficulty of medicine then and still.
    • 64 Metascore
    • 70 Cynthia Fuchs
    Details of color and composition do the work usually handled by too much expository dialogue, granting access to Dani and Charlie’s thinking.
    • 72 Metascore
    • 70 Cynthia Fuchs
    It is returning to its own past, that most effective masculine melodrama. Two, it is making that return meta, arranging plot points to emphasize official repetitions and narrative redundancies. And three, it is yet again making torture its most salient focus.
    • 67 Metascore
    • 70 Cynthia Fuchs
    The film is about effects--about anger and guilt, pain and exasperation. It's about that "wish to remember" and also to know, or even just to be able to live with not knowing.
    • 67 Metascore
    • 70 Cynthia Fuchs
    As before, The Bridge loses its own focus frequently, sliding off into multiple storylines that follow pairs of characters, some less interesting than others, some downright distracting. But for all the time that feels misspent on Charlotte and her idiot boyfriend Ray (Brian Van Holt) or the self-deluding addict reporter Frye (Matthew Lillard) and his long-suffering partner Adriana (Emily Rios), The Bridge offers brief moments that resonate and sometimes, even chill.
    • 67 Metascore
    • 70 Cynthia Fuchs
    If it’s not an ingenious or very new device (see: Nina, Tony, Curtis, et. al.), the damaged soul who is Jack’s Self Reflected re-raises and continues to complicate the questions that are typically understood as resolved in Jack. Patriotism and heroism, bad choices and hideous torture in the name of a big picture: it’s 24 repeating.
    • 67 Metascore
    • 70 Cynthia Fuchs
    The formula set in motion by the Fringe pilot is familiar. That’s not to say it’s not also devious and often delightful.
    • 64 Metascore
    • 70 Cynthia Fuchs
    Nick Doob and Shari Cookson’s decision to use such “found footage” makes their film at once immediate and distressingly distanced, as it offers images both ordinary and specific, families and individuals posing for photos, their faces turned to the camera.
    • 70 Metascore
    • 70 Cynthia Fuchs
    He anticipates pretty much every move made against him, as you might as well, given that they’re made by people designed to remind you of previous people in Jack’s universe.
    • 84 Metascore
    • 70 Cynthia Fuchs
    There are a few elements of Silicon Valley that are still works in progress at this point. The force of Miller’s personality can be overwhelming, and a little of Erlich goes a long way.
    • 74 Metascore
    • 70 Cynthia Fuchs
    This effort to bring Sarah’s Chronicles both back and forward to our current moment is both awkward and smart.
    • 65 Metascore
    • 70 Cynthia Fuchs
    Sleeper Cell is compelling television primarily for its excellent performances and chilling premises, rather than its plots. Alarming as these may be, they are rendered here with predictable rising and falling action, a bit of romance, and some tidily resolved conflicts.
    • 58 Metascore
    • 70 Cynthia Fuchs
    The film offers a version of the real Mitt, performative and authentic, charming and awkward, occasionally at the same time.

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