For 82 reviews, this critic has graded:
  • 59% higher than the average critic
  • 3% same as the average critic
  • 38% lower than the average critic
On average, this critic grades 2 points higher than other critics. (0-100 point scale)

Kevin Fallon's Scores

Average review score: 69
Highest review score: 100 The Leftovers: Season 3
Lowest review score: 30 One Big Happy: Season 1
Score distribution:
  1. Positive: 58 out of 82
  2. Negative: 7 out of 82
82 tv reviews
    • 85 Metascore
    • 100 Kevin Fallon
    A perfectly mixed cocktail equally parts menacing and suspenseful, washed down with surprising notes of hilarious satire and pulpy violence, FX’s version of Fargo is most certainly not a pale imitation of the gruesome dark comedy.
    • 98 Metascore
    • 100 Kevin Fallon
    What it accomplishes in its third season is a triumph of concept, entertainment, provocation, cinema, acting, and often even fun that trumps any and all genre- and content-related turn-offs.
    • 83 Metascore
    • 90 Kevin Fallon
    This season is more concerned with continuing to make its way through the lives of the women who occupy Litchfield Prison, and, with a few misses here and there, is so lived-in in its narrative voice and settled in its “Backstory of the Week” format that you’re quickly at peace and on board with the season’s new direction and slightly more upbeat tone.
    • 89 Metascore
    • 90 Kevin Fallon
    It’s better than the breakout first season, even, finally equalizing the wildly--though thrillingly--undulating tones and sprawling cast of characters into a streamlined and balanced, but just as original and bracing, mode of storytelling that makes the 13 episodes more bingeworthy than ever.
    • 78 Metascore
    • 90 Kevin Fallon
    In a summer that’s offered new programs that pretty much all sit on the spectrum from “silly, but still curious” (Extant, The Strain) on one end to “just plain silly” (Dating Naked) on the other, Manhattan is the most grown up, worth-watching new series we have.
    • 79 Metascore
    • 90 Kevin Fallon
    Sunday night’s premiere featured some of the best writing the show has produced. More and more, Hannah Horvath is resembling a character we no longer identify with, but so clearly recognize. She’s annoying and hard to tolerate, but grounded enough to be endearing.
    • 78 Metascore
    • 90 Kevin Fallon
    It uses the creative breathing room to dial up and embrace the show’s inherent weirdness--this is a comedy about a cult survivor, after all--and then have the luxury to bring things back to a relatable, human level again.... [Fey and Carlock] solidified themselves as not just bravura comedy writers--which we already knew they were--but industry risk-takers, too.
    • 75 Metascore
    • 90 Kevin Fallon
    It's richer than ever. It's more nuanced. Whereas it used to be buzzy and contentious, it's now simply good.
    • 71 Metascore
    • 80 Kevin Fallon
    Review is high concept, yes. But it’s also incredibly clever, and really funny.
    • 76 Metascore
    • 80 Kevin Fallon
    The Season 3 premiere of Girls is good. It isn’t brilliant and life-changing nor is it terrible trash. It’s not as profound as we force Girls to be, nor is it meaningless. It’s just good. Sometimes it’s very good. It’s certainly enjoyable. But it’s neither the best nor the worst thing ever.
    • 66 Metascore
    • 80 Kevin Fallon
    As a comedy series, Man Seeking Woman is more inspired than it is flawlessly funny. But what it lacks in consistency of tone and laugh-out-loud one-liners it makes up for in sharp writing, acute cultural commentary, gleeful weirdness, and sheer creative balls.
    • 75 Metascore
    • 80 Kevin Fallon
    Kail’s boundless ambition and meticulous execution was the premium gasoline that made not just “Greased Lightning,” but the entire genre, race off towards the future.
    • 67 Metascore
    • 80 Kevin Fallon
    Santa Clarita Diet is gross. It’s also very good.
    • 67 Metascore
    • 80 Kevin Fallon
    I Am Cait is as moving as you hoped it would be, and as serious and educational as it needs to be--featuring a very controlled message about what it means to be transgender in the year 2015 and what Caitlyn Jenner’s journey does and, more importantly, does not have in common with that reality.
    • 79 Metascore
    • 80 Kevin Fallon
    The experience of being special needs and loving someone who is special needs isn’t exploited here. It’s illuminated here--and humanized, satirized, and, most importantly, laughed along with.
    • 76 Metascore
    • 80 Kevin Fallon
    It’s a lot of exposition, sure, but it goes by breezily. The scenes are all incredibly short, packing emotional jabs in rapid sequence all of which, after an hour of using your heart as a punching bag, leaves its intended bruise.
    • 90 Metascore
    • 80 Kevin Fallon
    American Crime is nothing then if not ambitious. At times perhaps over-ambitious: a pace that’s too slow, a cast of characters too large, and too many points to make to possibly bring them all home. But watching to see which ones do strike you--well, we lied. That actually is fun.
    • 68 Metascore
    • 80 Kevin Fallon
    It’s the kind of blank canvas needed to host Sorrentino’s compelling strangeness, making The Young Pope alternatingly addicting and infuriating, like the most interesting ambitious dramas competing to make noise in the age of #PeakTV.
    • 66 Metascore
    • 80 Kevin Fallon
    This, folks, was a very good production of Hairspray!
    • tbd Metascore
    • 80 Kevin Fallon
    Now armed with cool intelligence, a weathered savvy, and the kind of controlled ruthlessness that the past six years have built in her, Alicia is an even more interesting underdog than before.
    • 73 Metascore
    • 80 Kevin Fallon
    It has matured, but it is still dark and funny, its characters flawed, and its depictions of sex and friendship startlingly but refreshingly bleak.
    • 59 Metascore
    • 80 Kevin Fallon
    Lindsay was the most stressful hour of television I’ve ever seen. And I loved every second of it. Credit Winfrey, first, with adding gravitas and objectivity to what is ultimately a blatant and shameless grab for ratings.
    • 74 Metascore
    • 80 Kevin Fallon
    There are comforting pleasures in the return of Curb Your Enthusiasm. Cheryl Hines is back and her character is on pleasant terms with ex-husband Larry. ... But the derangement of the comedy might be the most satisfying returning element.
    • 58 Metascore
    • 80 Kevin Fallon
    Red Band Society is by no means the perfect network drama. (That would be The Good Wife, for those who are keeping count.) But there is something admirable about what it is doing, and about the fact that it has no qualms about it.
    • 81 Metascore
    • 80 Kevin Fallon
    For all the camp you might expect from a project like this, the whole thing plays out with remarkable dignity.
    • 66 Metascore
    • 80 Kevin Fallon
    The concept for Tuesday night’s premiere of American Horror Story: Cult is so on-the-nose it can only be called brilliant. ... A murder investigation (led by Colton Haynes), and also a dizzying array of new plot points that distract from what works the best about this standout first episode: the crippling battle between politics and paranoia.
    • 73 Metascore
    • 80 Kevin Fallon
    Forget everything you assumed about the lives of classic musicians. Turns out, they’re not so boring. Mozart in the Jungle, then, is like Girls meets Amadeus.
    • 86 Metascore
    • 80 Kevin Fallon
    Orange Is the New Black itself, which has grown richer, more surprising, and ambitious in its fourth season. That doesn’t always mean it’s better than ever--often it isn’t--but is just as admirable as ever.
    • 75 Metascore
    • 80 Kevin Fallon
    The show retained enough of its integrity and beauty to make us want to follow again.
    • 85 Metascore
    • 80 Kevin Fallon
    It’s all warm and lovely and cozy and caustic and motherly and daughterly.
    • 70 Metascore
    • 80 Kevin Fallon
    In its third season, Orphan Black is both falling victim to its complexity and is all the stronger for it.
    • 77 Metascore
    • 80 Kevin Fallon
    The show is, first and foremost, incredibly well written, with astute observations about pop culture, particularly as it relates to ethnic identity.
    • 79 Metascore
    • 80 Kevin Fallon
    Sure, Sesame Street has been gentrified, but it hasn’t lost its charms. How you get to Sesame Street might be different, but the destination? As familiar as ever.
    • 81 Metascore
    • 80 Kevin Fallon
    The [premiere] episode is sweet and sharp and clever and everything The Mindy Project was when it was at its best, and perhaps deserves even more admiration for finding a way to pair its two leads together and dismiss all notions that TV characters that graduate from will-they/won’t-they status to committed relationships are creative time bombs.
    • 82 Metascore
    • 80 Kevin Fallon
    We’ve seen this all before. The good guy’s descent into darkness, the cat-and-mouse thriller, the escapist action series, the on-location porn. Does The Night Manager do it any better than we’re used to? Sure, quite often. But at least it almost never does it any worse.
    • 73 Metascore
    • 80 Kevin Fallon
    Relax. The new episodes are certainly more political and even a little gayer than we expected, but just as funny and nostalgic as we hoped they would be.
    • 84 Metascore
    • 80 Kevin Fallon
    They say that it’s bad form to judge a new late-night series based on the first show. That at least a month of shows need to air before you get a proper sense of who the host is and what the show will be. That’s certainly true, and yet there’s a sense watching the premiere of Full Frontal that it has arrived fully realized.
    • 64 Metascore
    • 80 Kevin Fallon
    What you bask in while watching Claws is the world that’s been created, and the women who populate it. It’s a world maybe you don’t quite understand but is so meticulously crafted that it doesn’t become hick tourism, but instead a heightened version of an already colorful reality.
    • 56 Metascore
    • 70 Kevin Fallon
    It was a nice, easy watch, and they didn’t bastardize anything--which, honestly, in today’s world of awful reboots is the highest praise.
    • 67 Metascore
    • 70 Kevin Fallon
    For all that he would shamelessly borrow from them across the hour, he seemed markedly different from that pack he’s lumped in with. In fact, he was even refreshing.
    • 48 Metascore
    • 70 Kevin Fallon
    Once you commit yourself to the trashy abandon of The Royals, the one critique of the show might be that the abandon isn’t reckless or campy enough.
    • 75 Metascore
    • 70 Kevin Fallon
    Escape for a while into the world of these horrible, vapid people, and let the phenomenal performances by the likes of Kidman, Woodley, Dern, and especially Witherspoon delight and distract you. It’s their respective star turns that keep you from being bored by the otherwise monotonous show--which is a pretty ridiculous detractor for a thriller about a murder.
    • 60 Metascore
    • 70 Kevin Fallon
    Hotel is as deranged and uneven as ever, making watching Gaga’s performance a positively nerve-wracking experience.
    • 80 Metascore
    • 70 Kevin Fallon
    The bittersweet hilarity of all of this is where “Repilot” succeeds. Longtime fans of the series will delight in how it is just so Community. Newcomers there to watch a “pilot” of sorts of a series just won’t get it.
    • 58 Metascore
    • 70 Kevin Fallon
    You begin to accept, even adore, these wooden aspects of the show as a litany of twists begin entering at whiplash pace.... [Lopez] and the rest of the show’s creative team make you care about what happens to Harlee while still making you feel like she’s in real danger.
    • 64 Metascore
    • 70 Kevin Fallon
    That the show finds new humor and life in these done-to-death scenarios is its biggest strength.
    • 75 Metascore
    • 70 Kevin Fallon
    Change is afoot at Downton, and with it a redirection back to the frenzied elegance that defined its first few surprisingly engrossing seasons. The progress is with a grain of salt, though. The plot development is back, but it’s more obtuse than ever.
    • 64 Metascore
    • 70 Kevin Fallon
    Girl Meets World is a perfectly pleasant Disney Channel show.
    • 66 Metascore
    • 70 Kevin Fallon
    The strength of Shots Fired is in its willingness to pause the often dizzying pace of Preston and Terry’s investigation to let the more emotional human moments simmer. ... We only wish that naturalism was as evident in the writing, which, as the episodes unfold, introduces an unwieldy number of characters, witnesses, conspiracies, theories, and cover-ups.
    • 43 Metascore
    • 70 Kevin Fallon
    A bold, bedazzled, cheesy-as-hell and inevitably polarizing attempt to revive the variety hour.
    • 74 Metascore
    • 70 Kevin Fallon
    Even if occasionally baffling and a little disjointed, the very idea of the show and the production value is worthy of investment, even if there’s a lack of feeling to provoke intense passion for it.
    • 69 Metascore
    • 70 Kevin Fallon
    It’s hardly [his crowning achievement], lacking the aggressive whimsy and emboldened storytelling that’s made him the pied piper to a nation of TV-watching weirdos, mocked and ignored. But there’s a seriousness with which he’s given this first Freak Show outing that actually piques more of a curiosity than trotting out the expected onslaught of spooks, one-liners, and cheekiness could’ve possibly be done at this point in the American Horror Story run.
    • 53 Metascore
    • 70 Kevin Fallon
    The result was a TV special that felt every bit as dated, but also every bit as joyous, as those variety series, when the likes of Dinah Shore and Julie Andrews and Judy Garland and the Jacksons would serve up entertainment comfort food in the ’60s and ’70s. Rudolph, though, peppers the format with the necessary spice and quirky flavoring that, throwback as it is, keeps that comfort food from feeling stale.
    • tbd Metascore
    • 70 Kevin Fallon
    This respectable, illuminating View was also--let’s face it--kind of boring.... It’s kind of a comfort, and even exciting, that these four very intelligent, very congenial women with an abundance of respect for each other are going to be the ones helming it.
    • 60 Metascore
    • 70 Kevin Fallon
    This respectable, illuminating View was also--let’s face it--kind of boring.... It’s kind of a comfort, and even exciting, that these four very intelligent, very congenial women with an abundance of respect for each other are going to be the ones helming it.
    • 60 Metascore
    • 70 Kevin Fallon
    Katy Mixon is a star. It’s honestly her intense likability that makes this show so watchable, for of all of the non-fat joke-related mistakes it makes (chiefly its Alex P. Keaton knockoff older son character).
    • 67 Metascore
    • 70 Kevin Fallon
    Strong as the writing is--and it’s way smarter and has a stronger point of view than your typical web spoof aspires to be--it’s hard to shake the feeling that it’s a web spoof, something that’s in stark contrast to the lavish and extravagant production Netflix is putting forth.
    • 50 Metascore
    • 60 Kevin Fallon
    It was overstuffed with some awkward introductions and anxiety over first impressions, and because of that sometimes a little boring. ... The premiere is often very fun, especially when Handler’s eye-roll-driven plain-talking sense of humor slips in off the cuff. (At one point she laughs directly into Pitbull’s face.) But it didn’t probe in the way we’ve been sold, and still expect from future episodes.
    • 74 Metascore
    • 60 Kevin Fallon
    That might be the crux of the problem with Jerry Before Seinfeld. It’s certainly pleasant, and anyone who is a fan of his will chuckle their way through it. But it’s unclear what we’re being sold here.
    • 72 Metascore
    • 60 Kevin Fallon
    My Roanoke Nightmare is a fascinating new direction in that mission. We’re not sure quite yet if we’re applauding the new direction; to be quite honest, we found the premiere to be so heavy on explanation that we were slightly bored.
    • 62 Metascore
    • 60 Kevin Fallon
    That balance of gimmicky and profound undulates throughout the season. ... But the cuckoo is stitched together by the heft of Fonda and Tomlin’s performances and the intimacy of the writing when the show manages to take a step back and give the characters a beat for self-analysis.
    • 62 Metascore
    • 60 Kevin Fallon
    The curious thing about Snowfall is how glaringly the ask it is making of its viewers is at odds with the tension rising between the various players in the complicated drug ring depicted onscreen: an assumption of patience, and blind trust that it will deliver. ... The performances rise to the ambition of the material, especially Idris in the lead role, Michael Hyatt as his protective mother, and Amin Joseph as his conflicted uncle.
    • 68 Metascore
    • 60 Kevin Fallon
    Baskets is so naturalistic it’s almost whimsical. Except it’s so definitely lacks any whimsy that all of its naturalism can actually be stale.
    • 62 Metascore
    • 50 Kevin Fallon
    The truth is, bold as this creative decision was--and executed quite successfully, too--it’s jarring, at best. At worst, it’s a bastardization.... All of that said, in a perverse way, this maturation of the franchise may be exactly what was needed if The Muppets has any hope of being the same lightning rod or have the same longevity as the original Muppet Show, which ran from 1976 to 1981.
    • 72 Metascore
    • 50 Kevin Fallon
    Its characters are depressingly the same.... Pretty much everyone else is recycling their old plot points, too.
    • 57 Metascore
    • 50 Kevin Fallon
    When you suspend disbelief and watch Selfie through a prism where it’s a fantasy-world alternate reality, where people speak in self-aware, carefully crafted maxims and quotables, lines like this are actually really funny--exceptionally astute and observant about today’s culture. But if you look at Selfie as some sort of realistic meditation on a social media-obsessed, narcissistic generation--which it’s tempting to do, especially as some of Eliza’s self-serving transgressions hit closer to home than others--then you’ll likely find writing like this to be maddening.
    • 58 Metascore
    • 50 Kevin Fallon
    Paired together, Grace and Frankie doesn’t exactly work. But paired together, Fonda and Tomlin are brilliant.
    • 67 Metascore
    • 50 Kevin Fallon
    In addition to being OITNB’s riskiest season yet, this is also its messiest. The lows are pretty low. ... But the highs are the show at its best: profound and funny, and simultaneously spotlighting and elucidating the ways in which women and minorities are oppressed, villainized, and ignored, often all at once. Still, that surfaces the show’s most fatal and longest-running flaw. There are so many characters—too many, in fact.
    • 47 Metascore
    • 50 Kevin Fallon
    It’s all very big and bold, and boring.
    • 54 Metascore
    • 50 Kevin Fallon
    Whitney may be a largely inoffensive and competently executed biopic, but it also misses the point of its existence.
    • 42 Metascore
    • 50 Kevin Fallon
    Pick through that mess, and even the biggest Daniels skeptic will find a fierce commitment to progressive social issues; a knack for writing showcases for actresses of color that are so often slighted by Hollywood; and a kind of Shakespeare-meets-camp delight for dialogue that is as operatic as it is silly--though only effective about as often as you’d expect with that kind of ambition.
    • 73 Metascore
    • 50 Kevin Fallon
    The Wiz Live! was certainly not transcendent, or even anything that I’d ever want to watch again. But it was Citizen Kane compared to the twin rancid garbage pile that were Sound of Music and Peter Pan.
    • 61 Metascore
    • 50 Kevin Fallon
    With all of the hype leading up to Meyers's debut on Late Night, it was disappointing that his opening monologue was scrappy.... On his own, Meyers was merely OK, especially considering that Fred Armisen, who leads Late Night's house band, was such a nonentity. Then Amy Poehler came on and everything was just splendid.
    • 55 Metascore
    • 40 Kevin Fallon
    The storytelling, clearly, isn’t the point. It’s about the feeling of Rocky Horror and, as the film took on this cult second life, the audience who is feeling it. But with this Fox production, it’s unclear who the intended audience is.
    • 42 Metascore
    • 30 Kevin Fallon
    Lazy, arguably, would be excusable if this new Odd Couple was funny. Though the Very Enthusiastic laugh track might suggest otherwise, this is not a funny show. It is antiquated and broad in a way that’s actively off-putting.
    • 60 Metascore
    • 30 Kevin Fallon
    The dialogue doubles as patronizing directives of what we’re supposed to be thinking, carefully dictating Resurrection’s themes.
    • 37 Metascore
    • 30 Kevin Fallon
    If there’s a milestone achieved by One Big Happy, it’s that we’ve reached the point where shows spotlighting gay characters, relationships, and issues can finally be as lazy, occasionally offensive, and unfunny as shows about straight people have been for decades now.
    • 33 Metascore
    • 30 Kevin Fallon
    Throughout the entirety of the first task, the editing makes the women look like deranged, useless hens clucking over each other to the detriment of progress, while the men’s manliness and how they harness it--“but I’m a manly man…” is a phrase uttered once every 10 minutes—become the episode’s running theme.
    • 33 Metascore
    • 30 Kevin Fallon
    Rather than play up the legend that we’ve built the show to be in our mind by fabricating sordid relationships between the actors and soapy behind-the-scenes drama, the faux raunch and scrubbed-off-edge sterility of the TV movie only shines a harsh spotlight on the more staid and cheesy elements of the show.
    • 55 Metascore
    • 30 Kevin Fallon
    For all of its large-scale production numbers danced expertly by an army of Lost Boy twinks and psychedelic sets designed by someone clearly flying high on some strong fairy dust, the most egregious thing about Peter Pan Live! was that it was an inexcusable bore. For three hours.
    • 43 Metascore
    • 30 Kevin Fallon
    Its examination of the events and of Hefner itself is so transparently revisionist and positive, at least in the two episodes given to critics to screen, that you don’t feel compelled to open your mind at all.

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