Emily Nussbaum

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For 116 reviews, this critic has graded:
  • 41% higher than the average critic
  • 6% same as the average critic
  • 53% lower than the average critic
On average, this critic grades 5.4 points higher than other critics. (0-100 point scale)

Emily Nussbaum's Scores

Average review score: 73
Highest review score: 100 Transparent: Season 2
Lowest review score: 30 The Newsroom: Season 1
Score distribution:
  1. Positive: 91 out of 116
  2. Negative: 7 out of 116
116 tv reviews
    • 83 Metascore
    • 80 Emily Nussbaum
    Each episode intensifies, emotionally, suggesting the long arc of a story that’s just beginning.
    • 82 Metascore
    • 80 Emily Nussbaum
    The first two episodes of the new season struggle slightly, now that Gretchen and Jimmy are living together--there’s a risk of tilting into hipsterism, like a sour West Coast riff on “Mad About You.” And yet your fingers are crossed for the show to make the leap.
    • 83 Metascore
    • 80 Emily Nussbaum
    At six episodes, Happy Valley is satisfyingly compressed.
    • 76 Metascore
    • 80 Emily Nussbaum
    This is astoundingly efficient storytelling, eight hours that pass in a blink, with even minor characters getting sharp dialogue, dark humor, or moments of pathos.
    • 85 Metascore
    • 80 Emily Nussbaum
    Well cast, solidly structured, and emotionally stirring, the show is as sincere as the Bruce Springsteen songs that make up its score, a ballad of pragmatism with a passionate heart.
    • 86 Metascore
    • 80 Emily Nussbaum
    The dialogue isn’t always subtle, but it’s often sharp.
    • 85 Metascore
    • 80 Emily Nussbaum
    The first four episodes of this season, though skillfully directed by Miguel Arteta, vary in effectiveness, but the third is pretty perfect, particularly Rhea Perlman’s performance as a double-amputee convict determined to escape from her hospital bed.
    • 91 Metascore
    • 80 Emily Nussbaum
    Wide-ranging and genuinely funny.
    • 76 Metascore
    • 80 Emily Nussbaum
    Episodes has a sly subversiveness that deepens over time, like mercury poisoning: it's an adult farce that is at once frothy and acerbic.
    • 76 Metascore
    • 80 Emily Nussbaum
    The Jinx is wickedly entertaining: funny, morbid, and sad, at once exploitative and high-minded, a moral lasagna of questionable aesthetic choices (including reconstructions of ghastly events) and riveting interviews (of Durst, but also of other eccentrics, like his chain-smoking-hot second wife).
    • 60 Metascore
    • 80 Emily Nussbaum
    The result is a warmer story, streaked with satire rather than marinated in it. Perhaps the greatest contribution comes from the performance of someone who barely appears: Rory Kinnear (best known as the Prime Minister in the pig episode of “Black Mirror”), whose Barry is a poignant, meaningful figure, a do-gooder whose loss is real for the town’s most vulnerable residents.
    • 74 Metascore
    • 80 Emily Nussbaum
    Younger has a disarming blend of brass and humility. The second season, judging from the first three episodes, is a real step up.
    • 71 Metascore
    • 80 Emily Nussbaum
    The Comeback is as spiny and audacious as the original, but very different, because it isn’t aimed at “celebreality” or network sitcoms, now dated targets.
    • 88 Metascore
    • 80 Emily Nussbaum
    The show is at its best in such moments, these sequences that capture the semi-virtual, semi-real ways that we think, and feel, and meet, and connect today. It’s a rare attempt to make visible something that we take for granted: a new kind of cognition, inflected by passion, that allows strangers to think out loud, solving mysteries together.
    • 79 Metascore
    • 80 Emily Nussbaum
    Smart, salty, and outrageous, the series falls squarely in the tradition of graphic adult cable drama.
    • 80 Metascore
    • 80 Emily Nussbaum
    In a lacklustre fall season, this sweet surprise of a pilot, with its shrewd narration and likable cast, made me cross my fingers that the show can maintain its charms.
    • 92 Metascore
    • 80 Emily Nussbaum
    Best of all, we seem to be done with the weakest element of the series, those abusive-hillbilly flashbacks. Instead, we've been left with a Madonna-whore set of blondes: all-embracing Anna and her icy counterpart, Betty of the Little White Nose in the Air.
    • 77 Metascore
    • 80 Emily Nussbaum
    The series has transformed from hokey formula into one of the goofiest, most reliably enjoyable comedies around.
    • 81 Metascore
    • 80 Emily Nussbaum
    With British accents and a refreshing dash of homoeroticism, it works nicely for a midsummer binge.
    • 64 Metascore
    • 80 Emily Nussbaum
    Claws does occasionally lean a bit hard on the wackiness; it has a tendency to overindulge when it comes to extended montages and slo-mo. But, honestly, who cares? On a hot day when a TV viewer is looking for a fun kick, it’s an appealing summer offering: a sweet mojito with extra pulp.
    • 81 Metascore
    • 80 Emily Nussbaum
    There are twists and turns, but things never get confusing. Each episode ends with a small revelation that keeps Dory moving. Even minor characters get full arcs and smart backstories.
    • 61 Metascore
    • 80 Emily Nussbaum
    BrainDead is aggressively funny and a little sloppy, and it’s that sick-joke aggression, the refusal to take itself seriously, that is the key to its appeal.
    • 69 Metascore
    • 80 Emily Nussbaum
    Under its lurid surface, is smartly paced and frank--even thoughtful--about the disconcerting fantasies it provokes.
    • 81 Metascore
    • 80 Emily Nussbaum
    Feud has its flaws--a jokey song cue here, blunt exposition there. But Murphy lets the contradictions sizzle: he knows that schlock can double as great art; that self-loathing can work both as a goad to ambition and as an emotional crippler.
    • 75 Metascore
    • 80 Emily Nussbaum
    This season is so much more effective that it’s practically a master class in how tweaks can transform a series--and in how hard it is to judge a sitcom early on.
    • 85 Metascore
    • 80 Emily Nussbaum
    Sondheim’s frequent collaborator James Lapine directs, and he does an excellent job of stitching together interviews from more than four decades, including ones with Mike Douglas and Diane Sawyer, to form a portrait of the composer as both a young and an old man.
    • 82 Metascore
    • 80 Emily Nussbaum
    A handful of fantasy sequences are hit or miss. But the show pulls off audacious characterizations.
    • 78 Metascore
    • 80 Emily Nussbaum
    The show could easily devolve into a mere cruel soap, its own guilty pleasure. But it makes one crucial move: it cultivates sympathy for the bachelorettes.... UnREAL allows the women to be individuals, vulnerable and distinct.
    • 85 Metascore
    • 80 Emily Nussbaum
    Eastbound & Down holds together so well that it's worth looking past the ugly for the solid performances and the charcoal-black humor beneath, particularly in the final episodes, which delve into Powers's family history.
    • 88 Metascore
    • 80 Emily Nussbaum
    The Americans can be wrenchingly emotional, and it’s terrifically well paced. But it doesn’t take itself overly seriously, and while the show looks pretty good it’s not the most cinematic series on the block.

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