For 146 reviews, this critic has graded:
  • 33% higher than the average critic
  • 1% same as the average critic
  • 66% lower than the average critic
On average, this critic grades 9.8 points lower than other critics. (0-100 point scale)

Dan Fienberg's Scores

Average review score: 56
Highest review score: 100 BoJack Horseman: Season 3
Lowest review score: 0 Beauty and the Beast (2012): Season 1
Score distribution:
  1. Positive: 62 out of 146
  2. Negative: 20 out of 146
146 tv reviews
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 82 Metascore
    • 70 Dan Fienberg
    The Returned is putting aside the relatable and the primal in favor of something far more muddled. This changes the viewer's experience of The Returned and not always for the better.... Yet The Returned is hypnotic and otherworldly in a way that keeps it compelling.
    • 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.
    • 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.
    • 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.
    • 80 Metascore
    • 58 Dan Fienberg
    You can feel Hardy and his mad energy desperately pushing The Take along, but you can hear the gears grinding.
    • 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.
    • 78 Metascore
    • 60 Dan Fienberg
    Crazy Ex-Girlfriend is a mess, albeit a charming and admirable mess.
    • 78 Metascore
    • 50 Dan Fienberg
    The film's first hour focuses on the passage of the Civil Rights Act of 1964 and despite sometimes embellishing and distorting the actual events for no particular reason, it's a fast-moving portrait of legislative brinkmanship, political pragmatism and altruistic ambition. ... In its second hour, though, All the Way becomes an underexamined Wikipedia entry.
    • 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).
    • 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.
    • 76 Metascore
    • 70 Dan Fienberg
    As usual, Odenkirk and Cross' humor ranges from easily explainable silliness that escalates in unexpected and extreme ways to more savvy and formally adventurous sketches that play off the familiar in smartly escalating ways.
    • 76 Metascore
    • 70 Dan Fienberg
    Homeland works at a slower pace and the premiere mostly lets Carrie keep up the illusion that she'll be able to live a carefree life with strudel and a smile.... It's that third episode, in which Carrie realizes that past misdeeds are coming home to roost, that the shape of the season really takes effective form.
    • 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.
    • 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.
    • 76 Metascore
    • 50 Dan Fienberg
    Claire is as bad a person as Frank, but she's not as good at the game, so There's less pleasure in watching Wright, whose greatest achievement the past two seasons has been her admirable maturation as a director. Maybe that's what Kinnaman's character will eventually provide, either a worthy adversary or a rising protagonist? It doesn't matter whether or not Frank returns to talking to viewers, but he badly needs something worth talking about.
    • 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.
    • 76 Metascore
    • 67 Dan Fienberg
    Awkward has grown and matured, but I don't think I love the direction that MTV and, presumably, Iungerich have chosen to push the show.
    • 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.
    • 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.
    • 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.
    • 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
    • 75 Metascore
    • 80 Dan Fienberg
    The little things that fell short of polished paled in comparison to the things that landed against all odds.
    • 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.
    • 75 Metascore
    • 60 Dan Fienberg
    The struggle with Ash vs Evil Dead is reconciling the giddy, maniacal pleasure that Raimi brings to the pilot with the by-the-numbers disappointment that the second episode delivers and knowing that that is more likely to be the series going forward.
    • 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.
    • 74 Metascore
    • 25 Dan Fienberg
    The first four episodes of Season 5 find True Blood at its most directionless and meandering.
    • 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.
    • 74 Metascore
    • 42 Dan Fienberg
    True Blood returns on Sunday (June 26) night with too many new characters, not enough time with the characters I like, a general evasion of the most prickly parts of last season's finale, some plodding hints at a lumbering dramatic direction for this season and some breasts.
    • 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.
    • 73 Metascore
    • 70 Dan Fienberg
    The Hap and Leonard friendship is a fantastic mixture of politically incorrect, boundary-free banter, loving antagonism and do-anything-for-each-other dedication, and the writers push hard to convey the friendship, even if some of the back-and-forths feel more natural on the page.... The 45-minute episodes and the sometimes light narrative leave the initial three episodes feeling somewhat thin, but that feeling could abate in the presumably intense closing three episodes, or maybe the first season will be best binged as prelude to a second season.
    • 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.
    • 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.
    • 72 Metascore
    • 60 Dan Fienberg
    Confirmation goes for something more dispassionate and even with the fine acting and a great built-in story, delivers something less enlightening and less enjoyable.
    • 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.
    • 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."
    • 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.
    • 71 Metascore
    • 42 Dan Fienberg
    American Horror Story is a glorious mess.
    • 70 Metascore
    • 50 Dan Fienberg
    midst Kirkman's banality-of-evil fixation is the potential for very real banality, and after four episodes sent to critics, Outcast has already fallen frequent victim to the wheel-spinning and superficial characters that have often bogged down lesser moments of The Walking Dead and nearly every moment of Fear the Walking Dead. Directed with some flair by Adam Wingard (The Guest), the Outcast pilot has some promise, but subsequent episodes fail to maintain that momentum.
    • 70 Metascore
    • 60 Dan Fienberg
    The weekly cops-and-lawyers procedural aspect of the show was never going to hook me, but I found the pilot's core case, featuring an abducted girl, to be particularly manipulative and uninvolving. I was also irked by the contrivances that would allow Moynahan's character to be handling a case in which her brother was accused of malfeasance. I was much more interested in the multigenerational family stuff that played out.
    • 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.
    • 69 Metascore
    • 50 Dan Fienberg
    Through six episodes, the plotlines focusing on men putting the squeeze on each other in the name of profit or justice have already blended into a blur of well-acted familiarity; only the scenes with [co-star Maggie] Siff come to life.
    • 69 Metascore
    • 60 Dan Fienberg
    For a show going in as many different directions as The Detour does, the pieces of the narrative seem to be connecting well past the half-way point in the first season. The episode-to-episode continuity adds up nicely if you like your comedies heavily serialized and there are hints that some of the elements that feel disparate and chaotic could also tie together.
    • 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.
    • 68 Metascore
    • 58 Dan Fienberg
    While structurally sound, Ted Mann's script lacks the verbosity and filth and, unfortunately, subtext that he brought (with a healthy assist from David Milch) to "Deadwood."
    • 68 Metascore
    • 50 Dan Fienberg
    With the important caveat that Wynonna Earp, premiering on Syfy on Friday (April 1), isn't as sharp, funny, thematically rich and consistently well-cast as Buffy was even in its bumpy opening season, there are enough elements in common to justify a tenuous comparison and enough small pleasures to encourage continued viewing.
    • 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.
    • 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.
    • 68 Metascore
    • 70 Dan Fienberg
    It remains to be seen how well Greenleaf will hold attention after the novelty wears off and the storylines have to stand on their own, but after three episodes it's a promising start.
    • 67 Metascore
    • 30 Dan Fienberg
    Maybe there is some steak to accompany this sizzle, but I wish somebody would bring it to the table already. It seems rude to extend an invitation to so many people without delivering an event.
    • 66 Metascore
    • 50 Dan Fienberg
    When the filmmakers get to showcase a true personal investment in the subject matter, the episodes really shine. When the directors approach the subject from a distance, what you get is a by-the-numbers NatGeo special, which isn't a bad thing, but plays as really disappointing given the names involved here. From this batch, examples of the latter outnumber the former, with only one installment that's truly worth seeking out.
    • 66 Metascore
    • 58 Dan Fienberg
    Despite the presence of Nolan (who's co-written most of his brother Christopher's films, including "Memento" and "The Prestige") and producer J.J. Abrams, this is very much a CBS crime procedural, one that could fit comfortably alongside "The Mentalist," et al. But it would help an awful lot if Caviezel had a few Red Bulls first.
    • 65 Metascore
    • 50 Dan Fienberg
    Much of The Expanse will feel familiar because, at least for four episodes, the writers are struggling to maintain momentum across at least three sci-fi-trope-heavy storylines that eventually could coalesce into something unique.
    • 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.
    • 64 Metascore
    • 60 Dan Fienberg
    It's a low-key premise, but not a bad one. And when you have comic actors this solid on-board, you can almost make believe that this flimsiness has substance.
    • 64 Metascore
    • 50 Dan Fienberg
    Life in Pieces has that solid foundation in place, with a superior cast that carries from the established veterans who make up its older generation right down to the newcomers representing the youth. Now Life in Pieces just needs to hone the show around its ensemble until it becomes worthy of its stars.
    • 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.
    • 63 Metascore
    • 50 Dan Fienberg
    If the half-baked subcultural anthropology doesn't grab you, Outsiders starts slow, but begins detonating little pockets of insanity in nearly every episode, proving that audacity without dramatic foundation can be amusing, if not necessarily good.
    • 62 Metascore
    • 58 Dan Fienberg
    After a lively and appealingly hilarious premiere, Dexter goes entirely off the rails with two episodes hobbled by clumsy victims-of-the-week and then crushed with endless repetition of the core theme.
    • 62 Metascore
    • 60 Dan Fienberg
    If you walk away from the Mike & Molly pilot and tell me that you hate it, because the only version you remember is the grating, pratfall-laden "laughing at" version, I can't say you're wrong. I can try to point you to the better parts of the pilot, like Mike's "share" to the Overeaters Anonymous group or his very different "share" to Molly's class of students, but as Chris Farley could have told you, those things don't get cheers like the "fat guy falls down" hijinks.
    • 62 Metascore
    • 60 Dan Fienberg
    So far, there's some laughter in the early episodes of The Muppets and a ton of built-in affection, but the wait for a great show continues.
    • 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.
    • 62 Metascore
    • 60 Dan Fienberg
    Greek is bound-and-determined to retain focus on its core cast, even if some of the machinations to make that possible come across as slightly contrived and belabored.
    • 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.
    • 61 Metascore
    • 42 Dan Fienberg
    The Whispers is ultimately a frustratingly hollow experience, an assortment of familiar genre cliches and a stubborn insistence that its primary mystery will remain enticing for us even without hints or the gratification of answers that, in theory, would only elevate the stakes.
    • 61 Metascore
    • 40 Dan Fienberg
    There are enough likable actors and easily digestible bipartisan political jabs here for occasional amusement, but it's sometimes exhausting to watch a show trying this hard for such limited returns.
    • 61 Metascore
    • 50 Dan Fienberg
    Madoff feels padded, but also warped with artificial cliffhangers, corny ad-break musical stings, cheap attempts to add thriller elements and an ending that lurches across nearly half of the second night. Still, working from ABC News correspondent Brian Ross' research and book The Madoff Chronicles, the movie has enough juicy details to remain very watchable, and Dreyfuss is having a great time playing this awful man.
    • 60 Metascore
    • 67 Dan Fienberg
    With the exception of Annable's Trudy, a pilot with high-flying aspirations of her own, it's hard to pinpoint the individual dreams or goals for any of these women and the show doesn't get deeply into the sense of what it's like to have your dreams so totally consumed by both societal gender restrictions and also the added pressure of living in the spotlight.
    • 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.
    • 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.
    • 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.
    • 58 Metascore
    • 40 Dan Fienberg
    Legends of Tomorrow can't make its characters jell, can't clarify its narrative mission and can't get out of its own way and stop talking.
    • 58 Metascore
    • 40 Dan Fienberg
    Shades of Blue is a reminder of what a strong screen presence Lopez has really always been ... but also what a fine actress she can be, shifting between strength and vulnerability with ease. The downside is that Shades of Blue is, as a whole, not a very good show.
    • 58 Metascore
    • 70 Dan Fienberg
    Ensembles rarely jell instantly and the first four installments of Superstore show encouraging progress.
    • 58 Metascore
    • 50 Dan Fienberg
    State of Georgia just comes across as a straight-down-the-middle girls-in-the-city comedy that wouldn't have been out of place on ABC or NBC's lineup back in 1987.
    • 57 Metascore
    • 50 Dan Fienberg
    Your belief will be strained, but at least for 25 minutes, Limitless is a mindless hoot.... 30-plus minutes into the pilot, Bradley Cooper shows up as Eddie Morra and his scene saps the pilot of all forward motion.
    • 57 Metascore
    • 40 Dan Fienberg
    Game of Silence is a show that's almost non-stop plot, but it's plagued by inconsistency that makes nearly every beat clunkier than it needs to be.
    • 56 Metascore
    • 70 Dan Fienberg
    [The Ranch is] unexpectedly sensitive, well-acted and formally adventurous, in addition to often being broadly funny.
    • 56 Metascore
    • 50 Dan Fienberg
    Clay's entry is far from the bottom of this burgeoning genre's particular barrel--Hello, Donny!--and the debut season of Dice actually has some highlights, including a very funny second episode built around an inspired cameo by Adrien Brody, but general unevenness pervades.
    • 56 Metascore
    • 67 Dan Fienberg
    The Secret Circle may be over-calculated and under-inspired, but that doesn't necessarily mean The Secret Circle is bad. There's something to be said for setting reasonable goals and largely succeeding, especially when there are plenty of shows that aspire to a good deal less and still fail.
    • 55 Metascore
    • 40 Dan Fienberg
    Its unique venue and recognizable names guarantee some interest, but with its underwhelming star, production values and storytelling ambition, Crackle's arrival in this marketplace teases More, but delivers less.
    • 55 Metascore
    • 33 Dan Fienberg
    Strip away the name and this is the story of a man trying to tear apart an oil monopoly, which makes Dracula every bit as scary and sexy as the Sherman Antitrust Act.
    • 55 Metascore
    • 67 Dan Fienberg
    Because Garner is the movie, the movie is worth watching, even if it adds little else to the already active Marilyn Monroe conversation.
    • 54 Metascore
    • 58 Dan Fienberg
    Jane By Design is by-the-numbers in its every facet.
    • 53 Metascore
    • 50 Dan Fienberg
    It's a show that wants to be praised for its realism that can't avoid cheating to yank your strings. The mismatched combination renders Code Black only a step above generic, but for fans of the medical genre, that's all your prescription plan will cover this fall.
    • 53 Metascore
    • 42 Dan Fienberg
    The Protector might be worse if it were attempting to do something ambitious and failing. Instead, it's set the bar near the ground, but I guess some viewers will be satisfied to see it succeed.
    • 53 Metascore
    • 30 Dan Fienberg
    Mostly, I came away thinking that Platinum Hit is a pretty lame way to find a talented songwriter and that my chances of liking any of the music produced on the show are low. I won't be returning.
    • 52 Metascore
    • 50 Dan Fienberg
    Ersatz animation aside, Moonbeam City lacks a clear comedic point of view because several episodes in, its characters remain cyphers.

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