James Poniewozik
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For 425 reviews, this critic has graded:
  • 41% higher than the average critic
  • 4% same as the average critic
  • 55% lower than the average critic
On average, this critic grades 1.8 points lower than other critics. (0-100 point scale)

James Poniewozik's Scores

Average review score: 63
Highest review score: 100 The Americans: Season 3
Lowest review score: 0 Dads: Season 1
Score distribution:
  1. Negative: 49 out of 425
425 tv reviews
    • 71 Metascore
    • 67 James Poniewozik
    Predictable but pithy, Wife takes itself no more seriously than the Hollywood-haves it skewers.
    • 72 Metascore
    • 67 James Poniewozik
    There are, maybe, some hopeful signs. The series seems to have given up on trying to create a bigger WMD for every season, which it needed to do. The political subplot—new president Cherry Jones wants a humanitarian invasion of a Darfur-like African country but is being undermined—is intriguing and a bit different for the show.
    • 66 Metascore
    • 67 James Poniewozik
    In all, not a great debut, but one with potential, and it shows off Grier's versatility well.
    • 72 Metascore
    • 67 James Poniewozik
    Because of Lewis' brilliant portrayal of the eccentric Charlie, the show is perfectly enjoyable. It's just not compelling, mainly because the ongoing story of Charlie's search for justice is so isolated from the rest of the show that it seems meant for bathroom and snack breaks.
    • 58 Metascore
    • 67 James Poniewozik
    Kings is fascinating pretentious hoo-ha.
    • 78 Metascore
    • 67 James Poniewozik
    it's a solid episode of The Office, which picks up with the Pam's pregnancy storyline the last season ended on, though I won't get into the details of how.
    • 80 Metascore
    • 67 James Poniewozik
    In the early Season 2 episodes, the strain shows in the songs, which service the plot but aren't as memorable as the old ones. But the scripts are as funny and tightly written as ever.
    • 67 Metascore
    • 60 James Poniewozik
    The writing is uneven... but the idea is audacious enough to keep you following the loose threads.
    • 67 Metascore
    • 60 James Poniewozik
    If you don't want or need to be surprised, it's a pretty well-paced, gorgeously shot and fast-moving pilot, and Maggie Q, who is practically computer-designed to play the role, seems worth all the publicity investment The CW has placed in her.
    • Time
    • 75 Metascore
    • 60 James Poniewozik
    There are at least the slivers of promise that the show could get better. Neff is amiably charming, Dillahunt and Plimpton give their characters a realism that belies the pilot's often-contemptuous jokes, and maybe 20% of the first episode shows a sweet-heartedness that rises above the easy white-trash humor.
    • 64 Metascore
    • 60 James Poniewozik
    The cast is startlingly good... given that the actors have to deliver lines like "I think we're looking at a four-dimensional object--in three- dimensional space!"
    • 74 Metascore
    • 60 James Poniewozik
    Cinema Verite is not a bad movie at all but its failing is an ironic one: it smooths out the messiness and non sequiturs of real life to fit its story into a neat feature-film arc.
    • 66 Metascore
    • 60 James Poniewozik
    The pilot is aiming for a balance of dark humor, heart and flat-out funny that it doesn't quite manage.
    • 61 Metascore
    • 60 James Poniewozik
    You may feel the faith-and-family themes could be handled better on cable--mainly because they have been.
    • 75 Metascore
    • 60 James Poniewozik
    But after five episodes, Ray Donovan is still some good performances in search of a show. It feels made up of pieces of other antihero dramas--a little Sopranos here, a little Brotherhood there, even a little Entourage around the edges. Ray is so far too much a cipher to be an engaging focal character, and his flaws and failings are those of so many middle-aged cable ass-kickers in the past decade.
    • 64 Metascore
    • 60 James Poniewozik
    Rock Center may not be a ratings smash, and not all of its experiments may work. But the good news is, Williams and Stewart can both keep their day jobs.
    • 63 Metascore
    • 60 James Poniewozik
    The comedy has all the ingredients, and Greer is perfectly cast... The problem so far is the writing. The jokes in the pilot were broader and more obviously than I'd have hoped, but the big isssue is that the writers need to find the right balance for Becky.
    • 67 Metascore
    • 60 James Poniewozik
    There are problems to work out; none of the cast really pops in the first episode, and I wish they hadn't given the competitors the help of a carpenter, which loses the hands-on, who-stole-my-glue-gun drama of Runway. But the show has good bones. There's nothing wrong with it a little furniture rearrangement wouldn't fix.
    • 57 Metascore
    • 60 James Poniewozik
    Justice's legal cases are not especially shocking or original, and the supporting characters are empty suits. But it's fascinating to watch for its style.
    • 79 Metascore
    • 60 James Poniewozik
    As an actual network drama--for me, the most important test--it relies too much on conventional showbiz plotlines and characters for me to get invested in it.
    • 73 Metascore
    • 60 James Poniewozik
    Sometimes unwieldy, sometimes beautiful, Parade’s End is--like the turbulent new order it ushers in--a bit of a mess, with no easily identifiable good guys. This miniseries doesn’t tell you how to feel, and it’s not exactly bursting with charming, loveable characters. But there’s a poignance to its story of people realizing their orderly parade is breaking up all around them.
    • 65 Metascore
    • 60 James Poniewozik
    Political Animals, an inconsistent, sometimes ludicrous, but also juicily fun political soap, is about something that ultimately makes for better TV: the idea of Hillary Clinton.
    • 63 Metascore
    • 60 James Poniewozik
    I found parts of this series I could get invested in. You might find even more. Just don't go in expecting more than heck on wheels.
    • 68 Metascore
    • 60 James Poniewozik
    It's an all-around high-class production. And yet, after watching two episodes, I had much the same thought I did after seeing a few minutes in May: the show basically seems like a stretched-out Law & Order episode.
    • 78 Metascore
    • 60 James Poniewozik
    Its early episodes are a mix of power and disappointment.
    • 58 Metascore
    • 60 James Poniewozik
    Promisingly, the pilot of Red Band (like Glee‘s) has a ton of voice, but its tone wobbles wildly as it overcorrects away from sentimentality and then straight into it.
    • 64 Metascore
    • 60 James Poniewozik
    Sleepy Hollow got my attention, but I’m not yet sure if it’s good, ridiculous, good but ridiculous, or good because it’s ridiculous.
    • 80 Metascore
    • 60 James Poniewozik
    The humor is minutely observed, but the improv reminds you how much nonactor Jerry Seinfeld benefited from comic backup and tight scripts.
    • 69 Metascore
    • 60 James Poniewozik
    The new episodes don’t have the old complexity, messiness and poignance. They don’t inspire the wild excitement of having no idea what’s going to come on the screen next. They don’t have that electric sense of experimenting on the fly. And they don’t seem to do what Harmon had them do, what Community itself did, which is: grow.
    • 86 Metascore
    • 60 James Poniewozik
    This is war as it happened, brutal and random, and in re-creating it Brothers captures viscerally the extraordinary sacrifice of a generation of ordinary men. ... But unlike [Saving Private Ryan], which bared its fictional GIs' souls, Brothers fatally neglects to turn its cast into distinguishable characters.

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