For 883 reviews, this critic has graded:
  • 41% higher than the average critic
  • 3% same as the average critic
  • 56% lower than the average critic
On average, this critic grades 7.1 points lower than other critics. (0-100 point scale)

Maureen Ryan's Scores

Average review score: 60
Highest review score: 100 Cosmos: A Space-Time Odyssey: Season 1
Lowest review score: 0 Marvel's Inhumans: Season 1
Score distribution:
883 tv reviews
    • 57 Metascore
    • 70 Maureen Ryan
    In an age in which thin stories are often stretched on the rack to produce 10 or 13 hours, Gunpowder lives fast, dies young, and doesn’t overstay its welcome.
    • 66 Metascore
    • 70 Maureen Ryan
    Its brand of zany, self-referential comedy isn’t for everyone. But those who enjoyed the USA series in the past will likely revel in more of the same in this fizzy outing, in part because the main characters actually care about each other, and the cast does a fine job of conveying that.
    • 80 Metascore
    • 70 Maureen Ryan
    This handsome comedy is uneven, but like Sherman-Palladino’s “Gilmore Girls,” it contains gifts that will appeal to fans of verbal combat and realistic depictions of complicated friendships among whip-smart women.
    • 68 Metascore
    • 50 Maureen Ryan
    Ultimately, Runaways seems a little too tentative for its own good--which is weird, given that the drama is about wielding power, for both good and ill.
    • 70 Metascore
    • 50 Maureen Ryan
    Despite the game energy of its cast, Future Man is mostly routine homage, with very little substance shoring up its derivative foundations.
    • 80 Metascore
    • 70 Maureen Ryan
    Characterization is not the strong suit of The Long Road Home, but the actors do their level best, and directors Phil Abraham and Mikael Salomon excel at depicting the camaraderie of the soldiers as well as the chaos that envelops them at several key moments. But The Long Road Home could have trimmed its overlong running time by cutting out all the home-front storylines.
    • 64 Metascore
    • 60 Maureen Ryan
    "SMILF" certainly has no shortage of ideas. ... What the show doesn’t consistently have in its first three episodes, however, is a sense of how to hone those stories, and make them both structurally sound and specific.
    • 78 Metascore
    • 80 Maureen Ryan
    Until Stranger Things 2 really gets going--and that takes a while--it trails an air of self-consciousness that veers into strained fan service at times. The good news is, the show’s core cast remains an extremely versatile and effective ensemble, and once the story kicks into a higher gear about halfway through the nine-episode season, a lot of the old magic returns.
    • 39 Metascore
    • 40 Maureen Ryan
    All in all, the drama does not contain the kind of energy, style or specificity that would make one want to check back in to see how the team’s mission is going.
    • 52 Metascore
    • 50 Maureen Ryan
    This Dynasty’s seriousness of intent is not balanced by enough wit and canny character development, nor is it offset by consistent injections of flair or fabulousness. The whole enterprise reeks of mere adequacy--and darling, the Carringtons deserve more.
    • 36 Metascore
    • 40 Maureen Ryan
    It’d be easier to buy into the premise if the jokes were fresher, zippier and less worn-out. But like some flailing adults who move home, 9JKL appears to lack ambition.
    • 63 Metascore
    • 30 Maureen Ryan
    Ten Days in the Valley tries to juggle a lot of different ideas, but very few aspects of this overwrought show work. The harder it tries to come off as serious and deep, the more this derivative drama is infused with an air of faintly ridiculous overreach. It’s a mess.
    • 73 Metascore
    • 60 Maureen Ryan
    It’s mainly the transitions between grounded moments and zingy, moderately hostile banter that give “Will & Grace” trouble.
    • 27 Metascore
    • 0 Maureen Ryan
    Inhumans has nothing at all to recommend it. Its only superpower is its sheer ineptitude.
    • 39 Metascore
    • 30 Maureen Ryan
    The host was so buried under cloying anecdotes and “cute” moments (her husband was in the audience and gave her roses!) that any appeal she might have naturally had was buried by carefully stage-managed artifice. ... In an interview with the cast and creators of NBC’s own “Will & Grace,” Kelly never established a relaxing rapport with them. ... In a later segment on a nun who works with young people and bereaved mothers in a low-income neighborhood in Chicago, Kelly again never quite connected with her subjects. The pre-taped piece had little depth.
    • 54 Metascore
    • 50 Maureen Ryan
    The Brave, which is as generic as broadcast network pilots get, feels like it’s a latecomer to the wave of post-“Homeland” dramas that were commissioned a few years ago. There’s no sophistication in the treatment of geopolitics or the wars in the Middle East, its characters are bland, and even the action sequences have nothing special to set them apart.
    • 53 Metascore
    • 40 Maureen Ryan
    The problem with The Good Doctor is that it doesn’t trust Highmore’s versatile and substantial acting skills. Every other aspect of the show is either overwrought or frustratingly simplistic, as if it’s determined to get the viewer to care about Shaun by hook or by crook.
    • 63 Metascore
    • 60 Maureen Ryan
    Young Sheldon, which depicts “The Big Bang Theory’s” Sheldon Cooper as a precocious 9-year-old in East Texas, doesn’t quite gel in either arena [functioning as a mainstream family comedy and fit into the realm of single-camera half hours] in its initial outing. But the premise and a few performances are interesting enough to give the show some time to find its way.
    • 72 Metascore
    • 75 Maureen Ryan
    It’s the moral murk that Burnham must wade through that gives Discovery its tantalizing possibilities.
    • 96 Metascore
    • 100 Maureen Ryan
    The masterstroke of Better Things is that it ignores 98% of what mainstream television has told us about how families operate and how grown women relate to the world. It is simply truthful about the ambiguous burdens of adulthood, about feeling love, exhaustion and sometimes volcanic anger for the people you can’t live without. By eschewing false sentiment and embracing uncertainty and moments of unexpected empathy, it ends up being deeply affecting.
    • 82 Metascore
    • 80 Maureen Ryan
    One Mississippi doesn’t land with heavy-handed force on the ideas and values it favors, but its world is so confidently rendered that it doesn’t have to.
    • 73 Metascore
    • 90 Maureen Ryan
    Pregnancies, parenthood and the costs of family ties: These are the matters that Top of the Lake injects with both urgency and hope. It’s a potent, and at times deeply poetic, concoction.
    • 36 Metascore
    • 10 Maureen Ryan
    An air of self-congratulation hangs over the entire hour, as if MacFarlane, who wrote it, couldn’t get over his awe at his own bravery in engaging with a difficult, complex topic.
    • 72 Metascore
    • 50 Maureen Ryan
    So there are moments, lines and characters that work. But in the big picture, this Tick’s core problem is that cape-oriented meta-commentary and deconstructions of superhero tropes are now pretty common, and these six installments take too long to get where they’re going.
    • 63 Metascore
    • 70 Maureen Ryan
    The Defenders is a workmanlike series that gets the job done with a reasonable amount of energy and a few bursts of flair.
    • 71 Metascore
    • 40 Maureen Ryan
    Mr. Mercedes comes off as a plodding compendium of serial-killer and cop cliches, all conveyed via an unrelentingly dour tone and almost suffocating aesthetic of drab greens, blacks and browns.
    • 71 Metascore
    • 40 Maureen Ryan
    Unfortunately, the plodding Manhunt: Unabomber miniseries often fails to bring its principals to any kind of recognizable or specific life.
    • 55 Metascore
    • 30 Maureen Ryan
    In the two-episode premiere, a host of flat, screechy, and stereotypical characters take part in stories about an angry new mom and small-minded Christians. Neither establish an entertaining vibe nor a reason to check back in.
    • 65 Metascore
    • 60 Maureen Ryan
    All in all, Room 104 is to be lauded for its adventurousness, but more rigorous attention to quality control could have made it more consistently enthralling.
    • 57 Metascore
    • 80 Maureen Ryan
    A lovely period piece that contains several top-notch performances. Featuring Kelsey Grammer, Matt Bomer and Jennifer Beals doing some of their best work, The Last Tycoon wraps its most unforgiving truths expensive satin and drapes them in softly lit diamonds. At its best, the series recalls the melancholy elegance of some of the best films of the 1930s.

Top Trailers