Cynthia Fuchs
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For 110 reviews, this critic has graded:
  • 37% higher than the average critic
  • 4% same as the average critic
  • 59% lower than the average critic
On average, this critic grades 4.8 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 Monday Mornings: Season 1
Score distribution:
  1. Positive: 41 out of 110
  2. Negative: 6 out of 110
110 tv reviews
    • 66 Metascore
    • 60 Cynthia Fuchs
    Assuming that you share its sense of outrage at what Jim Baker and Supremes wrought (in a decision they declared a one-off, not applicable to any future rulings), the movie offers easy targets and conclusions. But to intimate there was a way to “win” if only everyone had played fair, Recount has to back off the entrenched problems and the more horrific conclusion, that the system is rigged and no matter who plays it, the end is the same.
    • 51 Metascore
    • 60 Cynthia Fuchs
    It’s this credibility that makes The Beast go. Even when the show trots out cliches (rainy nights, junkie informants and strippers, a pretty blond neighbor/love interest for Ellis [Rose, played by Lindsay Pulsipher]), Charlie is compelling, his many performances jaggedy and surprising, his rhythms weird, his sense of humor entertainingly bleak.
    • 66 Metascore
    • 60 Cynthia Fuchs
    As the film's "50 state road trip" reveals the multiplicity of these experiences, it shows as well that some "freedoms" have costs.
    • 76 Metascore
    • 60 Cynthia Fuchs
    While the picture it provides is certainly strange and paradoxical, it is also limited.
    • 63 Metascore
    • 60 Cynthia Fuchs
    The shaman contrivance is surely tedious, but it appears that New Amsterdam uses the immortal design not as a way to Forrest-Gump its protagonist into a set of trite historical situations, but more cleverly, to ask questions about those situations.
    • tbd Metascore
    • 60 Cynthia Fuchs
    It's through such visual devices that Lie to Me repeatedly aligns viewers with Lightman's view. In much the same way, the show frequently cuts to commercials via photos of celebrities looking variously guilty according to FACS, so that you might recognize the expressions Lightman describes, and so feel that you can see what he sees.
    • 54 Metascore
    • 60 Cynthia Fuchs
    [The show has] married the procedural to melodrama, with occasionally intriguing results.
    • 52 Metascore
    • 60 Cynthia Fuchs
    Happy Town‘s rhythm is like that, pitching between the obvious and the obscure. It’s not yet clear where it’s “snap sharp.”
    • 69 Metascore
    • 60 Cynthia Fuchs
    C.S.I.: Miami is very slick, very clever, and very eager to please.
    • 66 Metascore
    • 60 Cynthia Fuchs
    Forceful but also vulnerable, flawed and brilliant, Liz is plagued by her self-righteousness and, judging by a couple of episodes, the show is plagued by her rightness.
    • 75 Metascore
    • 50 Cynthia Fuchs
    Even as this plot pattern bodes ill, Margulies and Panjabi make a formidable team.
    • 51 Metascore
    • 50 Cynthia Fuchs
    A little tedious for the rest of us, who have seen such exploration before.
    • 71 Metascore
    • 50 Cynthia Fuchs
    The series doesn’t mean to dig deeply into contemporary African social problems or politics, instead, it offers up middlebrow mysteries that can be solved in an episode’s time, a heroine who is keenly observant and positively feminine, a vague sort of half-step forward from Nancy Drew or Jessica Fletcher.
    • 65 Metascore
    • 50 Cynthia Fuchs
    Cavanagh and McCormack bring what you know they will--an effective mix of fast talk and easy delivery to pitch the partners’ situations, which range from silly to predictable.
    • 48 Metascore
    • 50 Cynthia Fuchs
    While the particulars of these cases are not uninteresting, they are mostly lost amid the swirl of Jerry and Michelle’s careening between romance and competition, betrayal and “crossing the line.”
    • 58 Metascore
    • 50 Cynthia Fuchs
    Tell Me You Love Me begins within confines, its white, middle class, straight couples all dealing with versions of the same problem. That this focus might be "real" is not the question. More troubling, for a series banking on its newness, is that the focus is so familiar.
    • 65 Metascore
    • 50 Cynthia Fuchs
    Patrick dramatizes his sense of superiority, intimidating and irritating just about anyone who comes in contact with him....The Mentalist does offer its own charms, chief among them Baker’s low-key, apparently complicated sarcasm.
    • 42 Metascore
    • 50 Cynthia Fuchs
    You might be thankful that Sam has explained his job, with so many un-blocked metaphors, if you've never seen a show like Criminal Minds: Suspect Behavior before. But because you've seen too many shows like this and too many teams like his, you're unimpressed. You're already too many steps ahead.
    • 67 Metascore
    • 50 Cynthia Fuchs
    More often, the show is a show: the camera cranes out to show Cathy's loneliness, the half-hour closes with a bittersweet pop song or the point is made too obviously ("Cancer's not a passport to a better life, cancer's the reason I'm not gonna have a life"). Still, the show does illustrate a useful idea, that what you think is "normal" is only that, what you think.
    • 62 Metascore
    • 50 Cynthia Fuchs
    For its part, House of Saddam provides little insight into Saddam Hussein. Instead, it repeats truisms about well-reported events, many of them best remembered as TV images.
    • 40 Metascore
    • 50 Cynthia Fuchs
    The series has laid groundwork for minor and mostly predictable complications.
    • 54 Metascore
    • 50 Cynthia Fuchs
    Hood’s methods are unconventional, Eleventh Hour insists, but still, he’s strangely bland.
    • 50 Metascore
    • 50 Cynthia Fuchs
    Flashpoint works through the distress and damage it lays out here, it gets points for beginning with the difficulty, not with the triumph. Now, if it can just figure a way beyond the scary perp clichés.
    • 52 Metascore
    • 50 Cynthia Fuchs
    These cases don't come together so much as they suggest a formula.
    • 54 Metascore
    • 50 Cynthia Fuchs
    As much as they have at stake, neither Vince nor Dana is as much fun to watch as Max. Master of the arched eyebrow and the sly grin, Max is better than a circus act.
    • 54 Metascore
    • 50 Cynthia Fuchs
    The show piles on plot and cliché. You know too much already. And yet, watching her, you realize you can never know enough.
    • 54 Metascore
    • 50 Cynthia Fuchs
    Intra-team melodrama doesn't distract from the film's focus so much as it illustrates it: again and again, the boys declare their need for payback.
    • 54 Metascore
    • 50 Cynthia Fuchs
    This sort of banter takes up a good portion of the Castle premiere episode, each instance of it reinforcing the always-already familiar premise.
    • 54 Metascore
    • 50 Cynthia Fuchs
    To ensure you understand the magnitude of all this emotional mayhem, Maddux helpfully narrates in generically navel-gazing voiceover.
    • 64 Metascore
    • 50 Cynthia Fuchs
    Lie to Me offers well-designed (and repeatedly, very white) interiors, utterly formulaic scripting, and familiar characters.

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