For 39 reviews, this critic has graded:
  • 61% higher than the average critic
  • 7% same as the average critic
  • 32% lower than the average critic
On average, this critic grades 3.2 points higher than other critics. (0-100 point scale)

Erik Adams' Scores

Average review score: 68
Highest review score: 91 Broad City: Season 1
Lowest review score: 33 We Are Men: Season 1
Score distribution:
  1. Positive: 26 out of 39
  2. Negative: 1 out of 39
39 tv reviews
    • 75 Metascore
    • 91 Erik Adams
    Broad City presents a recognizable, recognizably hilarious perspective on what trying-but-failing looks like from the inside.
    • 71 Metascore
    • 91 Erik Adams
    Fitting for a star whose improvised podcast appearances frequently turn down dark alleyways, Review really gets going when it digs deep into horrible behavior.
    • 75 Metascore
    • 91 Erik Adams
    The Knick rides the beautifully brutal, brutally beautiful nexus of 2014’s televised finest--Hannibal, True Detective, and The Leftovers all leap to mind--set aside by moments of true hope.
    • 70 Metascore
    • 83 Erik Adams
    Brooklyn Nine-Nine is a tight, funny pilot where the energy of the cast salvages the few down moments. Still, it lays some possible traps for the rest of the series, not the least of which is the ever-present temptation of cop-show cliché.
    • 88 Metascore
    • 83 Erik Adams
    The series is at its most potent when it reframes the everyday in the context of the Cold War, like Philip comparing notes on home life with a Mossad operative or Elizabeth displaying a flash of vulnerability in front of a government-contracted dupe. (And then betraying that parental bond by turning it into a threat.) Other aspects of the show would do well to find this middle ground; they’re getting there in season two.
    • 84 Metascore
    • 83 Erik Adams
    Justified has always been a show about defining yourself, for yourself. So long as it keeps finding fresh criminal conspiracies to wrap around that core--as season five appears to have done--the show will remain a must-watch.
    • 76 Metascore
    • 83 Erik Adams
    If Last Week Tonight With John Oliver can keep shedding humorous light on international affairs and other stories that fall through the cable-news cracks, this show might make it to eight weeks and beyond.
    • 72 Metascore
    • 83 Erik Adams
    There are portions of the 10-episode first season that are darker than any other American broadcast-network comedy, but not shying away from the inherent gravity of Bruce and Emma’s situation provides a rich shading to the stranger-in-a-strange-land laughs.
    • 83 Metascore
    • 83 Erik Adams
    There’s enough depth and complication in the performances alone to buoy the six-episode run, and given the intensity of the criminal specifics, the slow burn feels more like a feature than a bug.
    • 58 Metascore
    • 75 Erik Adams
    The early goings of Hello Ladies are more amusing than they are funny.
    • 71 Metascore
    • 75 Erik Adams
    Sometimes you just have to go with American Horror Story, even if it hurts your soul to be entertained by such heedless provocation.
    • 50 Metascore
    • 75 Erik Adams
    It’s an episode of television that exists at the intersection of Marvel’s superpowers-as-puberty metaphors and the half-baked cultural upheaval of True Blood—with a Whedon-esque anti-authoritarian streak thrown in for good measure. The show could devolve into a grab bag of familiar themes and tropes down the line, but its pilot does a remarkable job of synthesizing a cohesive introduction out of those disparate parts.
    • 69 Metascore
    • 75 Erik Adams
    Reproduction isn’t The Spoils Of Babylon’s comic strong suit, absurdity is. Crummy special effects are cute, but the miniseries finds its voice by bursting Jonrosh’s bubble, illuminating his shortcomings as a filmmaker through mealy mouthed dialogue, incomprehensible blocking, and continuity errors.
    • 69 Metascore
    • 75 Erik Adams
    Creature Shop Challenge is about doing the most in the least amount of time, and while there’s some impressive work on display in the premiere, the impulse to keep watching comes from the sense that the best, most stunning creatures are yet to come.
    • 81 Metascore
    • 75 Erik Adams
    Built on a blockbuster framework, Years Of Living Dangerously comes off more like a word-of-mouth sleeper, a documentary that’ll drop science on people drawn in by the promise of Harrison Ford berating a foreign minister like he’s a Russian terrorist who’s not welcome on Air Force One.
    • 49 Metascore
    • 75 Erik Adams
    At best, it reminds sitcom fans that quality work is still being done in multi-camera; at worst, it’s a decent distraction during the hiatus for Heelan’s other show, the final link to a comic dynasty that wasn’t meant to be.
    • 64 Metascore
    • 75 Erik Adams
    Replicating the beats of that previous show isn’t as important to Girl Meets World’s potential for success as reviving the spirit of its inspiration. It’s there in measured doses in the pilot, bolstering the broader jokes, staged performances from child actors, and requisite feints toward classroom puppy love.
    • 61 Metascore
    • 75 Erik Adams
    Cristela tries so hard and achieves so much--some potent jabs at broken-down American racial politics; portraying a family whose insults don’t undermine the genuine affection on-screen--that misfires are inevitable. But like the woman at its center, the show gets a long way on sheer effort.
    • 63 Metascore
    • 75 Erik Adams
    Such easy chemistry early on is a positive sign for the show’s future, as is the approach of the supporting cast, which gamely attacks the small amount of material it’s given in the pilot.
    • 69 Metascore
    • 67 Erik Adams
    Betas’ aspirational spirit can be invigorating, but it’s yet to find a unique perspective on the setting that was the winningest part of its pilot.
    • 74 Metascore
    • 67 Erik Adams
    Klondike isn’t half as good a televised novel as it is a parade of landscape photography punctuated by archetypal Western exploits.
    • 48 Metascore
    • 67 Erik Adams
    On their own, Arthur’s lunkheaded Jimmy and Skye’s bubbly Sandy are sketched a little thin—but due to Working The Engels’ compact ensemble, they usually wind up paired with Rohl or Martin, salvaging some potentially dire storylines like “Jimmy gives grandma’s ring to a stripper” or “Sandy wants to win a mother-daughter dance contest.”
    • 38 Metascore
    • 67 Erik Adams
    When everyone gets a fair chance to play, Mulaney finds its right type of weird. The ingredients are here for a show that’s more than a showbiz satire or a four-friends-and-a-couch comedy.
    • 45 Metascore
    • 58 Erik Adams
    After respectively stealing scenes on a very good single-camera sitcom and a mediocre live-audience one, both actors [James Van Der Beek and Zoe Lister Jones] come ready to play in the ensemble setup, and that’ll be a huge factor in Friends With Better Lives’ ability to improve on a so-so pilot.
    • 46 Metascore
    • 58 Erik Adams
    There are moments in the pilot where a smarter, more closely observed Welcome To The Family peeks through.... The most unfortunate victim of Welcome To The Family’s pacing is the pilot’s sense of humor.
    • 55 Metascore
    • 58 Erik Adams
    An overabundance of ingredients hurts both Dracula and its Dracula, the latter of which is constructed from the discarded bits of characters within and without the public domain.
    • 69 Metascore
    • 58 Erik Adams
    While Superheroes is forced to cram seven decades of a multimedia phenomenon into three hours of airtime, at least it does so while taking its subject matter seriously. At times a little too seriously.
    • 63 Metascore
    • 58 Erik Adams
    It’s painfully funny at times, and occasionally poignant. In between those peaks, however, it’s needlingly formless.
    • 59 Metascore
    • 58 Erik Adams
    Even with its inventive setting and all-star cast, there’s not enough reason to stick with BoJack Horseman through the first six episodes.
    • 58 Metascore
    • 50 Erik Adams
    The episode has the propulsive pace of a CBS hour-long, but that can leave the fun parts of a single-camera sitcom (like the jokes) behind in its dust. Above all, The Crazy Ones is safe.
    • 61 Metascore
    • 50 Erik Adams
    Segments like “Slide Show” and “A Bunch Of Jerks” (in which performers are attached to harnesses and yanked into the air whenever they break the rules of the game) bring some visual engagement to short-form improv. But the rest of the premiere throws up barriers to engagement, moving too quickly or too confusingly to make the viewer feel like they’re in on the roast McManus is emceeing.
    • 68 Metascore
    • 42 Erik Adams
    Alpha House hits a few notes of inspired satire--like the bowl of American flag lapel pins the senators keep on the kitchen counter--but Trudeau’s been more biting and much funnier elsewhere, past TV efforts like Tanner ’88 and the malaise-infected Doonesbury Special included.
    • 54 Metascore
    • 42 Erik Adams
    Thanks to Fagerbakke and fellow supporting player Lance Lim—who provides Eli Baker’s awkward Henry with a smooth-operating sidekick—there’s a lot to laugh at on the fringes of Growing Up Fisher. If only the brood at the middle of this family comedy were as sharply defined.
    • 57 Metascore
    • 42 Erik Adams
    As it stands now, Power spends far more time telling the audience that everything is at stake for Ghost than showing how everything he holds dear is at stake.
    • 42 Metascore
    • 42 Erik Adams
    In introducing the inner monologues, it’s as if creator Jeff Lowell and his team sought to maximize the show’s joke-telling space, but what they’re actually doing is restricting performance. Whenever the voice-over resurfaces, Tipton and/or McDorman are forced to pull faces or seek another form of silent expression. Shooting for the pilot must have looked like a high-price game of charades.
    • 33 Metascore
    • 33 Erik Adams
    Like the dullest of origin stories, it all seems pretty perfunctory, a series that longs to be a shaggy hangout show shoehorned into a rickety single-camera framework that may as well be called How I Left Your Mother.

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