For 214 reviews, this critic has graded:
  • 35% higher than the average critic
  • 2% same as the average critic
  • 63% lower than the average critic
On average, this critic grades 9.6 points lower than other critics. (0-100 point scale)

Dan Fienberg's Scores

Average review score: 57
Highest review score: 100 O.J.: Made in America
Lowest review score: 0 Beauty and the Beast (2012): Season 1
Score distribution:
  1. Positive: 92 out of 214
  2. Negative: 29 out of 214
214 tv reviews
    • 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.
    • 51 Metascore
    • 60 Dan Fienberg
    It's not especially fresh material, nor is it all that nuanced, but it's peppy and occasionally clever and it offers ample eye candy for any and all tastes.
    • 56 Metascore
    • 60 Dan Fienberg
    Mary + Jane feels like a corporate entity, which isn't without its positives. It has money behind it, so it never feels sloppy or cheap or raw or amateurish. And Kaplan and Elfont are trained and experienced auteurs of quippy, poppy female empowerment as fans of Can't Hardly Wait and Josie and the Pussycats know. But it isn't hard to look at the character of Jordan in Mary + Jane, see how much she comes across like Ilana Wexler from Broad City.
    • 56 Metascore
    • 60 Dan Fienberg
    All three actors know what they're doing and could be pieces of what would instantly be a solid ensemble. Around that ensemble, the show has a good, simple backdrop for an old-fashioned watering hole comedy in the Cheers vein, with only a couple of sets and very little unnecessary pretense.
    • 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.
    • 66 Metascore
    • 60 Dan Fienberg
    Shots Fired plays too much as predictable plot delivery system that sometimes steamrolls over its bigger ideas. Still, in its passion and in several performances, there is much to admire here.
    • 65 Metascore
    • 60 Dan Fienberg
    In its best moments, Vice News Tonight felt like a string of little amuse-bouches to whet appetites for full meals available online. In its lesser moments, it felt like Full Frontal or Last Week Tonight without the jokes and, honestly, with less on-air depth.
    • 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.
    • 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.
    • 78 Metascore
    • 60 Dan Fienberg
    Crazy Ex-Girlfriend is a mess, albeit a charming and admirable mess.
    • 50 Metascore
    • 60 Dan Fienberg
    After four episodes ... The Mick has already settled into that frustrating spot of being a comedy designed for cable but forced to play by network rules, too soft and squishy and indecisive but nonetheless consistently elevated by Olson.
    • 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.
    • 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.
    • tbd Metascore
    • 60 Dan Fienberg
    Pretty Little Liars only has a couple more episodes to become a guilty pleasure for me. You might not believe it based on the amount of programming I watch, but I've only got room for so much bad TV.
    • 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.
    • 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.
    • 54 Metascore
    • 58 Dan Fienberg
    Jane By Design is by-the-numbers in its every facet.
    • 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.
    • 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.
    • 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.
    • 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."
    • 54 Metascore
    • 50 Dan Fienberg
    The performances and the above-average directing team may lure some viewers who will then get irked by the rah-rah "America, hell yeah" bellicosity and those who come for the "America, hell yeah" bellicosity will probably get ticked off by all the pesky feelings, and by the suggestion that sometimes soldiers do bad things in war.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • tbd Metascore
    • 50 Dan Fienberg
    It's on the fringes that The Son is sometimes smart, nuanced and relevant.

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