For 252 reviews, this critic has graded:
  • 37% higher than the average critic
  • 2% same as the average critic
  • 61% lower than the average critic
On average, this critic grades 9.3 points lower than other critics. (0-100 point scale)

Dan Fienberg's Scores

Average review score: 58
Highest review score: 100 O.J.: Made in America
Lowest review score: 0 H8R: Season 1
Score distribution:
  1. Negative: 34 out of 252
252 tv reviews
    • 89 Metascore
    • 100 Dan Fienberg
    Netflix's BoJack Horseman evolved from frothy talking-animal Hollywood satire to character-rich treatise on depression in its first season, deepened and darkened into one of TV's best shows in its second season and gallops into its third season with a profound confidence.
    • 98 Metascore
    • 100 Dan Fienberg
    Some of the best acting, directing and ephemeral atmosphere on television. There's so much to say about every episode of The Leftovers, much less to say about the first six episodes of a new season collectively, but the easiest thing to say is that it's not too late to tune in and be awed and confused.
    • 92 Metascore
    • 100 Dan Fienberg
    This is probably the spring's best new show and certainly its most important.
    • 96 Metascore
    • 100 Dan Fienberg
    O.J.: Made in America is a provocative, intelligent and thorough documentary that tears along at an impressive clip given its length, with tragedy around every corner. The first miniseries to air under the ESPN Films and 30 for 30 banners, it also instantly takes its place among the banner's best efforts.
    • 76 Metascore
    • 91 Dan Fienberg
    "The Jinx" is an utterly compelling watch. Through the two episodes I've seen, it's chilling, emotional and occasionally morbidly funny and moves at a thrilling pace.
    • 72 Metascore
    • 91 Dan Fienberg
    The second time I watched The Last Man on Earth, I laughed a lot, but I found myself taken by the way that the stillness in the landscape and the stillness in one side of Forte's performance also accentuate a sadness and humanity. Forte's line readings make the most of every word, but he pulls mirth and misery in the same breath.
    • 75 Metascore
    • 91 Dan Fienberg
    Along with FOX's "Last Man On Earth," Fresh Off The Boat is one of the best new network comedies of the spring and both are probably better than any network half-hour--allowing for "Jane the Virgin" genre wiggle-room here--that debuted last fall.
    • 90 Metascore
    • 90 Dan Fienberg
    American Crime may not leave you with much to interpret, but it always offers plenty to talk about.
    • 83 Metascore
    • 90 Dan Fienberg
    Smart and audacious.
    • 81 Metascore
    • 85 Dan Fienberg
    The first chapter of Peter Morgan's chronicle of the rule of Queen Elizabeth II remains gripping across the entirety of the 10 episodes made available to critics, finding both emotional heft in Elizabeth's youthful ascension and unexpected suspense in matters of courtly protocol and etiquette.
    • 82 Metascore
    • 83 Dan Fienberg
    The Honorable Woman is really a thriller and, at its best, it's on a level with something like "Homeland" at its best.
    • 81 Metascore
    • 83 Dan Fienberg
    Michael Hirst's saga of pillaging and migration remains everything it has been almost from its premiere.
    • 80 Metascore
    • 80 Dan Fienberg
    Through two episodes, The Good Fight feels appropriately like an extension on the brand and unless you discover that what you really liked about The Good Wife was the soap opera of Alicia Florrick's life, you'll find this a welcome return.
    • 84 Metascore
    • 80 Dan Fienberg
    It's a smart and often funny look at young people looking for love and professional satisfaction in Los Angeles, which is about as common a genre as TV has to offer these days. But taken in the totality of the TV landscape, Rae's voice is one that wasn't being heard and that voice is what makes Insecure stand out, not necessarily as better than the Emmy winners or critical favorites in the field, but as gratifyingly distinguishable.
    • 83 Metascore
    • 80 Dan Fienberg
    On a night-by-night basis, Roots works the tricky balance between misery and uplift. Even if it can't tap into the sui generis newness of the original, the miniseries is often brutal and harrowing.
    • 81 Metascore
    • 80 Dan Fienberg
    Even more than Murdock in Daredevil, Jessica Jones dominates the proceedings in the show that bears her name--and thanks to Rosenberg and Ritter, the first season is well on its way to delivering.
    • 81 Metascore
    • 80 Dan Fienberg
    The diva devotee's undeniable passion for the material, plus a cast of almost gratuitous distinction, helps cover for a narrative that's sometimes more juicy than weighty.
    • 84 Metascore
    • 80 Dan Fienberg
    Episodes build to key revelations or legal turning points and they sometimes exceed the standard hour boundaries and as propulsive as episodes are, they feel substantive, but also still trimmable. The series has an urgency, but in that urgency there's also an occasional sloppiness.
    • 79 Metascore
    • 80 Dan Fienberg
    These five episodes find The Carmichael Show pushing into more thematically extreme territory. I think I'd venture to say that at times big laughs take a back seat in the process of figuring out how to make even tougher subjects generally funny. Carmichael and his creative team are very consciously attempting to raise the ante on what they've done before.
    • 79 Metascore
    • 80 Dan Fienberg
    The show is so thematically rich as an exploration of extreme steps women had to take to find power 50 years before they would receive the franchise, that I mostly didn't miss the male stars in their protracted absences.
    • 79 Metascore
    • 80 Dan Fienberg
    The early episodes are so charmingly brainy and move with such a light step--Paul McGuigan of Sherlock and Scandal knows his way around a flashy pilot--and the cinematography is so stylish--not surprisingly, everybody loves photographing Mike Colter--that you only sometimes realize that the things you expect to get out of a superhero show are largely missing.
    • 80 Metascore
    • 80 Dan Fienberg
    If the first season of The Leftovers sometimes felt insular, the second premiere instantly proves that the show is actually boundless. Just as the first-season cast balanced prickliness and empathy, it's easy to get into the Jarden version of the story because of the Murphys, a family led by the terrific Kevin Carroll and newly minted Emmy winner Regina King.
    • 85 Metascore
    • 80 Dan Fienberg
    Through four episodes, the new season of American Crime is another tantalizing dip into a dozen intellectual pots and once again, this is both enriching and frustrating, though more of the former than the latter.
    • 73 Metascore
    • 80 Dan Fienberg
    Unlike NBC's previous musical experiments, it's likely that The Wiz Live! will actually live on in replays and on DVD as audiences try to notice new details, re-experience adored numbers and not have to pause every five minutes for commercials.
    • 71 Metascore
    • 80 Dan Fienberg
    Fortunately, when it isn't asking you to chuckle along with Lance Armstrong's coy self-awareness, Tour de Pharmacy is smart, silly and often hilarious.
    • 73 Metascore
    • 80 Dan Fienberg
    The start of the fifth season won't launch an armada of think pieces, but if you still get pleasure from watching these flawed, often awful characters make flawed, often funny choices, Girls is still Girls.
    • 75 Metascore
    • 80 Dan Fienberg
    The sadness and unrest in F Is for Family tempers the humor and keeps the show from ever getting too frivolous. The family of its title gives the show a hopeful core, but it's always looking around the corner for the next stumbling block, so mostly, F Is for Family is entertainingly honest.
    • 77 Metascore
    • 80 Dan Fienberg
    One Mississippi is effectively quiet and understated in many of the ways that Transparent is demonstrative and confrontational, while both shows share an interest in family histories and personal pain.
    • 90 Metascore
    • 80 Dan Fienberg
    [The People v. O.J. Simpson: American Crime Story] often feels like an elaborate stunt, but still ekes out ample nuance, humanity and humor, despite a couple clunky performances that threaten to spin the series into the realm of camp.
    • 74 Metascore
    • 80 Dan Fienberg
    Even if Underground isn't fun, the Misha Green and Joe Pokaski-created series is both exhilarating and entertaining, taking a history lesson and making it something more contemporary, taking a painful chapter in American life and infusing it with populist genres.
    • 78 Metascore
    • 80 Dan Fienberg
    If the series is maybe less viscerally satisfying, it's probably more spiritual rich.
    • 81 Metascore
    • 80 Dan Fienberg
    It's characters on the verge of stereotype in a genre piece that's on the verge of parody, but by the tenth episode I found myself invested in Chantal's disappearance and even if I didn't like all of the main characters, I found myself sneering at them in a way I think they'd respect.
    • 83 Metascore
    • 80 Dan Fienberg
    One of the better dramas on TV--particularly right now in the waning days of the summer.
    • 75 Metascore
    • 80 Dan Fienberg
    With DuVernay leading the charge, Queen Sugar boasts a promising cast, heavily populated by black actors in their first series-regular roles, and an all-female directing team, some established but many still launching their careers--meaningful footnotes to the quality of the show, which is high.
    • 63 Metascore
    • 80 Dan Fienberg
    When I write that "Undercovers is basically a slicker, more expensive, less geeky version of 'Chuck,'" that's not quite meant as an insult. I prefer "Chuck," but the pilot for Undercovers is stylish, sexy and, at its best, quite fun.
    • 72 Metascore
    • 80 Dan Fienberg
    If the main character at the center of Quarry is familiar and one prone to viewer fatigue, Quarry works because so much of the rest of the show around Mac is so rich.
    • 87 Metascore
    • 80 Dan Fienberg
    Appleby and Zimmer continue to deliver strong and funny lead performances playing two of TV's most outspoken and prickly characters. And with a fine new suitor comes a fresh and engaging new group of wifeys, blifeys and villains. Catching up on the first season is recommended, but you could almost just jump in fresh for the summer pleasure, no guilt here, that is UnREAL.
    • 76 Metascore
    • 80 Dan Fienberg
    A steady 13-episode descent into grief and emotional confusion, 13 Reasons Why is an honorably mature piece of young-adult adaptation, fleshing out Jay Asher's well-regarded novel in a way that allows its cold-hearted high-school environment to breathe while revolving around tremendous lead turns by Dylan Minnette and particularly Australian newcomer Katherine Langford.
    • 79 Metascore
    • 80 Dan Fienberg
    Through three episodes Girls is back on solid and often increasingly inventive footing.
    • 81 Metascore
    • 80 Dan Fienberg
    GLOW is sometimes funny, sometimes emotional and anchored by a strong, ego-free performance by Alison Brie, improving across the full 10-episode first season sent to critics.
    • 90 Metascore
    • 80 Dan Fienberg
    Great care has been taken in almost every aspect of bringing the former Gandolfini passion project to TV. That care may peak early with a premiere that should be in Emmy consideration at this time next year, but subsequent episodes still hold an elevated, pulpy crime novel feel, dampened only slightly as contrivances begin to settle in.
    • 72 Metascore
    • 80 Dan Fienberg
    If you tuned in for the start of "My Roanoke Nightmare," chances are good that you'll continue with it because it was a lot of ground-laying, but almost none of the excess that the show is known for. ... Beyond the atmospheric set-up, the "My Roanoke Nightmare" was worth watching just for the initial casting fun, always an AHS staple.
    • 77 Metascore
    • 80 Dan Fienberg
    There is certainly cause for some wariness that an already bursting-at-the-seams drama has become stretched even more haggis-tight, but the three episodes made available to critics remain above the guilty-pleasure fray, with catchy new songs, wacky diamond-encrusted, fur-lined hijinks and, of course, Cookie.
    • 80 Metascore
    • 80 Dan Fienberg
    Manhattan returns to WGN America on Tuesday (October 13) for its second season and it hasn't made one of those leaps that might cause critics to yell into the void that this is a classic drama that viewers are missing out on, but it still features a superb and growing ensemble cast, a textured commitment to period detail, the smooth execution of some of TV's best directors and the looming potential of atomic detonation to give it all some dramatic juice.
    • 76 Metascore
    • 80 Dan Fienberg
    You care what happens to the characters in Stranger Things because they're written authentically and they're cast exceptionally, especially when it comes to the kids.
    • 79 Metascore
    • 80 Dan Fienberg
    Over the course of the eight episodes, Brockmire moves through a trio of arcs, delivering underdog sports hijinks, the Jules-Brockmire romance and Brockmire's sad and probably doomed search for redemption. That's all propped up with enough low-brow jokes, raunchy baseball references and disreputable hijinks that the show never wallows.
    • 59 Metascore
    • 80 Dan Fienberg
    Whatever your perspective, if the idea of Glee or Popular spiked with wanton slaughter sounds appealing, Scream Queens initially should have you covered.
    • 79 Metascore
    • 80 Dan Fienberg
    Netflix's One Day at a Time is timely, soulful, consistently funny and, more than anything, blessed with great warmth.
    • 75 Metascore
    • 80 Dan Fienberg
    Richardson and Robinson make for likable leads and Detroiters is savvy and funny in many ways, but what really made it work for me was the admirable affection that comes from its love for Detroit.
    • 72 Metascore
    • 80 Dan Fienberg
    It manages to be sweet, smart, quirky, story-strong and funny all at the same time with what appears to be minimal effort.
    • 84 Metascore
    • 80 Dan Fienberg
    The [late night] terrain is still forming, but there's a clear place for Full Frontal after this assured, effective debut.
    • 77 Metascore
    • 80 Dan Fienberg
    There are very few shows that can deliver as much action and excitement as the season six Game of Thrones finale and there are perhaps even fewer shows that can make a table-setting episode this much fun, so it's all the more bittersweet that not only is winter here, but the end is in sight.
    • 75 Metascore
    • 80 Dan Fienberg
    The little things that fell short of polished paled in comparison to the things that landed against all odds.
    • 76 Metascore
    • 80 Dan Fienberg
    Dexter returns as a slightly fresher show, without doing any damage to the character fans love. I enjoyed the first three episodes back and I imagine most fans will feel the same.
    • 75 Metascore
    • 80 Dan Fienberg
    Come for the top notch production values and the budgetary polish that being on CBS allows. Come for Benoist, who brings a sort of heroic decency you might call Christopher Reeve-esque. Come for Flockhart chewing scenery. I'd say to stay for the uplifting and progressive message, but that's up to you.
    • 74 Metascore
    • 75 Dan Fienberg
    Not only are high school horrors pretty universal, even if the specifics change, but I can find a way to fit "Awkward" into a tradition of hyper-literal high school comedies like "Pretty in Pink" or "Heathers" or "Mean Girls" or "Juno" or "The In-Betweeners" (if your taste runs to British TV). It's not as good as any of those, but it's not as bad as "Jawbreaker," which is in the same tradition.
    • 84 Metascore
    • 75 Dan Fienberg
    Despite whatever aesthetic limitations it may have, The Curious Case of Curt Flood manages to tell a solidly complete version of the story over its 90 minutes, resisting the temptation to make this a simple hagiography.
    • 68 Metascore
    • 75 Dan Fienberg
    With Samuels' star-power and the proficient execution of the episode episodes, The Nine Lives of Chloe King is the sort of summer fun that I'll happily watch in the summer and it has the potential, if it navigates the story properly, to become the rare ABC Family series I might stick with even against regular programming.
    • 60 Metascore
    • 70 Dan Fienberg
    Early on, Hotel hasn't hooked me with its storytelling, but it's always fun to see what the series does with its repertory acting company and with new additions. Throw in the normal grotesquerie and visual panache and that should keep me going for a while, even if all of the humor appears to have been funneled into Scream Queens.
    • 65 Metascore
    • 70 Dan Fienberg
    What keeps Goliath watchable, and it's certainly quite watchable, is the superlative ensemble cast, particularly Billy Bob Thornton, whose gift at taking predictably quirky characters and making the beats of that quirkiness slightly off-kilter is close to unmatched.
    • 56 Metascore
    • 70 Dan Fienberg
    [The Ranch is] unexpectedly sensitive, well-acted and formally adventurous, in addition to often being broadly funny.
    • 79 Metascore
    • 70 Dan Fienberg
    Whitely succeeds in the basic goal of Last Chance U, which is to make you care about the success or failure of a JUCO football team in Mississippi. ... Maybe the next four episodes will offer more Scooba, more variations on the redemptive "last chance" theme and perhaps an introduction to a jock willing and able to read "The Most Dangerous Game."
    • 75 Metascore
    • 70 Dan Fienberg
    Jerry Weintraub feels like he's the guy pulling the strings on His Way, which hinders the film, particularly in its second half. That doesn't mean His Way isn't an entertaining 83-minute documentary, but it's an entertaining 83-minute documentary, rather than being an enlightening film that's anywhere near as perceptive as its subject matter
    • 64 Metascore
    • 70 Dan Fienberg
    The best and most honest thing you can say about Monday's premiere is, "He didn't break it." He also didn't try to.
    • 67 Metascore
    • 70 Dan Fienberg
    There are some strong episodes, some big laughs and an ensemble that could become really special if the show is given the chance to further tap its potential.
    • 67 Metascore
    • 70 Dan Fienberg
    In some cases, the heightened stakes of the season help deliver some of the show's best performances yet and beats of staggering emotion. In other cases, a series that has reliably been careful to treat even the ugliest behavior with nuance pushes to such extremes that it threatens to undermine a lot of what came before.
    • 58 Metascore
    • 70 Dan Fienberg
    The Voice delivered an entertaining two hours, far more tightly packed than any "Idol" audition episode for years, though that's an unfair comparison.
    • 75 Metascore
    • 70 Dan Fienberg
    Although it's plagued with structural problems and a questionable relationship to the passage of time, Gilmore Girls: A Year in the Life is better than the season that fans were previously stuck with.
    • 67 Metascore
    • 70 Dan Fienberg
    Loaded moves along quickly and even when the subject matter gets dark, it doesn't hit very hard. Don't expect too much hilarity, but there are some smiles of recognition, some solid performances and a little bit of currency (both topical and financial), making Loaded one of the better examples of a not-particularly-great genre.
    • 69 Metascore
    • 70 Dan Fienberg
    Pitch has an admirable sense of scale and not overselling its main plot. ... The Pitch pilot ends with a twist that doesn't enhance anything and, in fact, made me concerned about how the show might be structured moving forward.
    • 65 Metascore
    • 70 Dan Fienberg
    Engrossing, but probably not as captivating as what's taking place to get the show to air. .... Leah Remini: Scientology and the Aftermath will stir up some viewer emotions, but it's not a dynamic series, even with the added footage of Remini and Rinder in transit between interviews. It's a lot of sitting around talking, interspersed with footage from fairly innocuous Scientology promotional videos and event interviews.
    • 76 Metascore
    • 70 Dan Fienberg
    It's heavily serialized and yet the hours are pleasantly episodic, bridged by cliffhangers. It feels like a TV series, which isn't always how the show felt last year. Preacher also feels visually smoother.
    • 49 Metascore
    • 70 Dan Fienberg
    It's action escapism, not homework, and with Hawkins as a sturdy lead and a string of chases, gunfights and a couple of decent stunts, 24: Legacy mostly does its job.
    • 62 Metascore
    • 70 Dan Fienberg
    It doesn't start smoothly, but as we always say, comedies often require extra time to find their footing and with Plimpton, Ferguson and Galvin, the right pieces are in place and if the third and fourth episodes are an indication, The Real O'Neals may be heading in the right direction.
    • 63 Metascore
    • 70 Dan Fienberg
    For now, just as a jovial actor inhabiting an unexpected part, Baldwin is fun to watch and it's good to see him carrying over Rayburn's love for in-character clue readings, in this case a dismal-but-terrific Mick Jagger impression.
    • 74 Metascore
    • 70 Dan Fienberg
    Strahan's fine, but in this case the show is the star. ... Pyramid works, and as long as Strahan doesn't get in the way, it will continue to work.
    • 62 Metascore
    • 70 Dan Fienberg
    The smoother storylines of the earlier episodes and an ensemble with no sore thumb pieces kept me watching through the rough sections and left me with hope that even though TV's need for another show about comedians is nonexistent, I'm Dying Up Here might continue with an approach that's different enough and expansive enough to be worthwhile.
    • 70 Metascore
    • 70 Dan Fienberg
    It's occasionally a bit disappointing that with five hours to tell their coming-of-age tale, creators Joe Gangemi and Gregory Jacobs still have trouble servicing all of their characters and justifying their very conventional arc. But the affection for the genre and for the period still carry the day.
    • 76 Metascore
    • 70 Dan Fienberg
    Preacher comes on aggressively, but the third and fourth episodes give Catlin and the writers the chance to explore some of bigger picture theological issues and hint at growing maturity, even if that maturity still comes with gruesome jokes and pop culture references galore. Even in its unsteadiest early moments, Preacher parlays its messiness into an anarchy that's thematically on-point.
    • 67 Metascore
    • 70 Dan Fienberg
    The high exertion of getting mirth and metaphor from the morbid often leaves Fresco's cleverer dialogue buried and forces the stars to play the same strained beats over and over. But like zombies themselves, the show is relentless, and by the end of 10 episodes, there was progress towards a happy creative marriage.
    • 68 Metascore
    • 70 Dan Fienberg
    Room 104 doesn't feel like a Duplass brothers film. The six episodes sent to critics, celebrating a diverse assortment of either lesser-known or lesser-known-to-TV directors, aren't bound by genre or form, and they're mostly pretty good.
    • 64 Metascore
    • 70 Dan Fienberg
    I do know that I like this opportunity for List as a TV star and tthe opening time-travel convolutions are treated to accentuate emotion and character relationships in a solid way. It has room to grow and room for improvement.
    • 65 Metascore
    • 70 Dan Fienberg
    Approach Timeless as throwback, somewhat in the vein of a less nuanced Quantum Leap, and it can be enjoyed. But be prepared to turn your brain on and off at random intervals and don't yank too hard at any of the plausibility strings, or I fear Timeless will unravel entirely.
    • 72 Metascore
    • 70 Dan Fienberg
    Most of Love doesn't feel new, but it's committed and if you can shake the fact that there are a dozen shows with similar moves and if you can warm up to the prickly, but probably realistic, characters, there's a lot to like, if not love.
    • 73 Metascore
    • 70 Dan Fienberg
    Ultimately, even if not every element satisfied, the sixth-season premiere of Game of Thrones did what it needed to for me, putting this mammoth locomotive back on the track and showing again that even with less and less of Martin's published material to rely on, Weiss and Benioff know how to move it forward.
    • 76 Metascore
    • 70 Dan Fienberg
    Fogelman's pilot introduces the pieces necessary to become a show that will make viewers laugh and cry and also relish the performances from Brown, Ventimiglia, Moore, Hartley, Metz and the rest, but it will need to settle into its identity.
    • 64 Metascore
    • 70 Dan Fienberg
    The deteriorated film effects and the adrenalized driving become less important and instead there are extended subplots involving the possibility of Blood Drive becoming a network TV show or delving into the relationships of the other drivers and the result is a show that's vastly more watchable. The more Blood Drive goes for comedy, the more Slink becomes central and the better Cunningham gets to be.
    • 58 Metascore
    • 70 Dan Fienberg
    Ensembles rarely jell instantly and the first four installments of Superstore show encouraging progress.
    • 82 Metascore
    • 70 Dan Fienberg
    These are stories that move at different paces, so cutting back and forth between a rehabilitation two years on and the terrifying and unsettling nights immediately after the bombing can be chronologically dissonant, as well as emotionally jarring.
    • 65 Metascore
    • 70 Dan Fienberg
    Genius doesn't stray far from the conventional, but the Marić-centric second episode hints at long-form storytelling can do for the genre. That, plus the leads, is more than enough to earn Genius not a full-on rave, but a relatively strong review.
    • 85 Metascore
    • 70 Dan Fienberg
    Lady Dynamite feels like it's delivering Bamford's wounded psyche in whole chunks, sometimes eager to please, sometimes awkwardly confrontational and generally compassionate.
    • 69 Metascore
    • 70 Dan Fienberg
    Whatever one feels about the story being told, the discomfiting mood established before a single line of dialogue is uttered is unquestionable. ... The overall quality of the performance [by Biel] will depend on what shadings The Sinner gives her to play, but it's a good start.
    • 58 Metascore
    • 70 Dan Fienberg
    Tommy Maitland adds almost nothing to the pleasure of watching the Gong Show premiere, which otherwise is at least moderate.
    • 68 Metascore
    • 70 Dan Fienberg
    This is an old soul's Christmas special. This is also a Christmas special for grown-ups, both because of a scattering of adult language, but also because Coppola's trademark dreamy/languid treatment of the material would bore younger viewers.
    • 61 Metascore
    • 70 Dan Fienberg
    Mercy Street delivers on gross-out medicine, tentatively soapy romance and and even occasionally nuanced history lessons and keeps the giggle-inducing performances to a relatively minimum. Six episodes was probably a less-than-ideal count for Lisa Wolfinger and David Zabel's drama, but the run concludes at a place that should take the show interesting places in a hypothetically better arced second season.
    • 68 Metascore
    • 70 Dan Fienberg
    Punisher and Elektra make it hard for Matt and Daredevil to operate and both Bernthal and Yung spend a lot of the first half of the season upstaging Cox, who has to capture a struggle that's internal, while his scene partners are playing things that are very external. And the two new additions are so vivid that there's a challenge to remain wholly invested in plotlines that don't involve them, which is tough for Foggy and, in particular, Karen.... But Daredevil still has its brooding, punchy pieces in place for a promising second season.
    • 72 Metascore
    • 70 Dan Fienberg
    It's a march through epic battles, epic romance and epic intellectual discovery, but viewers are probably going to have to take that old Tolstoy off the shelf ito fully understand what's so epic about it. Onscreen, it remains a fine, fast-moving yarn, but you don't have to have read the book to nod sagely and say, "The book is better."
    • 74 Metascore
    • 70 Dan Fienberg
    The thing that struck me most immediately about the premiere is how relatively cogent it was, with a clear emphasis on "relatively." What premiered on Sunday was as accessibly scary, disturbing and audaciously funny as many of the best parts of the original Twin Peaks, and nowhere near as hallucinatory and subtextually distilled as the prequel film Fire Walk With Me. ... That does not mean that I could tell you in any linear description what happened in the two hours.
    • 77 Metascore
    • 70 Dan Fienberg
    Distinctive, but not necessarily unique, Flowers feels like a mixture of Franny and Zooey and Harold and Maude by way of Roald Dahl (or a mixture of The Royal Tenenbaums and Arrested Development by way of Lemony Snicket, if you prefer your references more second-generation).

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