For 508 reviews, this critic has graded:
  • 53% higher than the average critic
  • 27% same as the average critic
  • 20% lower than the average critic
On average, this critic grades 8.8 points higher than other critics. (0-100 point scale)

Ken Tucker's Scores

Average review score: 76
Highest review score: 100 Enlightened: Season 2
Lowest review score: 16 Veronica's Closet: Season 2
Score distribution:
  1. Negative: 21 out of 508
508 tv reviews
    • 83 Metascore
    • 80 Ken Tucker
    I’ll keep checking it out for its incidental pleasures. A lot of Baskets’s best humor is totally random
    • 54 Metascore
    • 60 Ken Tucker
    The show tries very hard to give us believable female characters in this context, but I’m afraid the best Six can do is achieve a kind of high-class soap opera. ... When the show travels outside of America, it’s still full of macho dialogue that can be wearisome--“We’re gonna fix this because that’s what we do; we’re gonna bring Rip home!”--but it has a blend of action and moral inquisitiveness that makes the show intriguing.
    • 67 Metascore
    • 70 Ken Tucker
    This production seems to strive for a cross between Gossip Girl and Downton Abbey, and is thus an amusing trifle. ... Coleman is very good at portraying both sides of the Victoria depicted here: nervous adolescent romantic, and intelligent, wily influencer of government policy.
    • 77 Metascore
    • 80 Ken Tucker
    Funny and suspenseful, Sneaky Pete is an excellent idea for this weekend’s streaming TV viewing.
    • 81 Metascore
    • 70 Ken Tucker
    How much you enjoy these Series of Unfortunate Events depends on your appetite for the TV equivalent of consuming bowlsful of meringue--there’s a lot of excessively rich, fluffy, eggy humor here. The show is, over the long haul of near-hour-long episodes, rather too precious and campy for my taste, but I can certainly imagine a large audience for such well-written joking.
    • 68 Metascore
    • 60 Ken Tucker
    It really depends on how drawn in you are by the Vatican intrigue crafted by show creator Paolo Sorrentino, and how beguiled you are by Jude Law’s performance.
    • 68 Metascore
    • 70 Ken Tucker
    The first two episodes set up enough surprises and double-crosses to suggest a promising new season.
    • 85 Metascore
    • 80 Ken Tucker
    The documentary is never less than engaging, but as a piece of filmmaking, it’s rather shapeless. Now the deaths of Fisher and Reynolds give it an unintended shape and purpose. It captures these two extremely vital spirits in the very recent past, and makes you feel the loss of them even more sharply.
    • 67 Metascore
    • 80 Ken Tucker
    I thought I was heartily sick of gloomy, gritty TV shows, but engaging ones can’t help but pull me in. After watching three episodes of Taboo, I think I’m officially in.
    • 82 Metascore
    • 70 Ken Tucker
    Much of the soap-opera storytelling apparatus that frequently made the series a guilty pleasure rather than a pure pleasure--has been jettisoned. In its place is a more leisurely pace and, at its best, a soulfulness that Nashville has long struggled to achieve.
    • 47 Metascore
    • 20 Ken Tucker
    We soon begin to see the method behind this show’s storytelling: If there’s a way to pump more pretentious gas into the story, Emerald City will find it.
    • 79 Metascore
    • 50 Ken Tucker
    It’s warm, it’s goodhearted, it sends out positive messages. What it isn’t is funny.
    • 33 Metascore
    • 40 Ken Tucker
    The problem with Schwarzenegger is that, unlike Trump, there’s no relish in his malice, no delusion in his self-importance. Trump was fun to watch because he took his own fame and authority seriously at a time when he could be dismissed as a pufferfish in a three-piece suit. Schwarzenegger tries for some of that bluffness--reaching for a thick cigar after “terminating” someone--but it comes off a little desperate.
    • 50 Metascore
    • 50 Ken Tucker
    It’s just an okay sitcom with a frequently charming performance by Olson, which may be enough for a while, wedged in between New Girl and Bones. But it also seems like the kind of project that could leave Olson feeling trapped.
    • 69 Metascore
    • 70 Ken Tucker
    There’s not much verbal wit in Trollhunters--the jokes are pitched to a kid audience that has probably heard better ones in DreamWorks feature films such as How to Train Your Dragon and Shrek. But it looks terrific, with sleek animation that moves back and forth between human and troll worlds with fluid skill.
    • 61 Metascore
    • 60 Ken Tucker
    I have to give Marling and Batmanglij credit: I don’t usually have much patience for humorless, convoluted hooey like this, but their narrative pacing, and some of the performances ... are enthusiastically committed and effective.
    • 42 Metascore
    • 30 Ken Tucker
    It lacks any character as vital and vivid as Taraji P. Henson’s Cookie. The dialogue is overwrought, and frequently tells us the very things we’re seeing on screen. The trio of aspiring stars are plucky, but they’re not very interesting, and neither is the music they sing.
    • 50 Metascore
    • 50 Ken Tucker
    When Shut Eye focuses on the often separate-but-equal storylines of Linda and Charlie, it’s intriguing; the more it peels off into a tedious storyline about their son’s high school life or the illegal doings of Rossellini’s gangster empire or the strong-arm tactics of the gangster (you’ll wince at a death-by-boiling-oil in a doughnut shop), the more diffuse the series becomes.
    • 62 Metascore
    • 40 Ken Tucker
    Scenes of cage-match violence are regularly inserted to break up the boring office scenes of people sitting across from each other at desks, jawboning about corporate strategies. The result makes the future seem like a more extreme version of the present, which, in turn, is simply depressing.
    • 65 Metascore
    • 60 Ken Tucker
    Toward the end of the premiere, Remini is shown saying she’s hearing the same stories “over and over”--that the abuse and harassment former members are subjected to have similar traits. Unfortunately, that’s not much of an incentive to keep watching her series, which even during the first hour becomes a little repetitive. Nevertheless, Remini comes across as a sincere crusader.
    • 50 Metascore
    • 70 Ken Tucker
    The entire enterprise is sentimental and predictable, which goes without saying. What pulls it all together is what pulls together everything Dolly Parton touches: heartfelt emotion, un-ironic portrayals of modest sincerity (Nettles and Schroder are particularly effective), and a gift for turning treacle into musical gold.
    • 63 Metascore
    • 70 Ken Tucker
    Overall, the pacing of the new Anne is rather slow, but not so much that it ruins the underlying heartfelt emotions that make just about every variation on Anne of Green Gables irresistible.
    • 81 Metascore
    • 80 Ken Tucker
    The show works as a comedy, as a satire of the way certain people live now and of the true-crime genre in its search for Chantal. Search Party’s half-hour episodes zip by so quickly, you’ll probably binge on them sometime during the upcoming holiday.
    • 82 Metascore
    • 90 Ken Tucker
    A tremendously moving documentary.
    • 72 Metascore
    • 70 Ken Tucker
    Each individual hour of The Affair holds your attention, and perhaps it’s best to just keep watching before deciding whether the overarching narrative is cohering in a satisfying way.
    • 75 Metascore
    • 90 Ken Tucker
    Some of the best aspects of A Year In The Life are the ways the four episodes continue, and deepen, the show’s richest themes.
    • 60 Metascore
    • 60 Ken Tucker
    In general, the further Shooter strays from Phillippe’s character, the weaker the show becomes.
    • 65 Metascore
    • 70 Ken Tucker
    Letty may be a hot mess, but she’s an essentially decent person--why, she even listens to self-help tapes to try and psych herself into leading a better life. But if you let the show carry you along--especially into the strong second episode, directed by Carl Franklin--you may find yourself rooting for these antiheroes.
    • tbd Metascore
    • 80 Ken Tucker
    Oaks remains assiduously small-scale, and that only works toward its charm. (Compared with ABC’s blasting ’80s sitcom The Goldbergs, Red Oaks is a masterpiece of low-key discretion.) The pacing is sometimes tediously slow, but for the most part, Oaks is cozily welcoming.
    • 29 Metascore
    • 10 Ken Tucker
    [A] brutally crude dramatization of the crime and its aftermath.

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