Neil Genzlinger

Select another critic »
For 352 reviews, this critic has graded:
  • 44% higher than the average critic
  • 6% same as the average critic
  • 50% lower than the average critic
On average, this critic grades 7.2 points lower than other critics. (0-100 point scale)

Neil Genzlinger's Scores

Average review score: 59
Highest review score: 100 Fargo: Season 2
Lowest review score: 10 Stalker: Season 1
Score distribution:
  1. Negative: 38 out of 352
352 tv reviews
    • 83 Metascore
    • 60 Neil Genzlinger
    Where Sagan’s narrative often approached poetry, Dr. Tyson’s can sound like an overwrought, overamplified planetarium show.... The animation used to present his story resembles low-budget anime and isn’t terribly absorbing. Bruno deserves better. Nit-picking aside, if the new Cosmos doesn’t deliver quite the punch of the original, it’s because this isn’t 1980.
    • 62 Metascore
    • 60 Neil Genzlinger
    The details of those bargains and interrelationships among the inhabitants of the Drake will no doubt be fleshed out in subsequent episodes. But the premiere, at least, hasn't found a way to make this odd mix of high-end real estate and B-movie occultism compelling enough that you're eager for more.
    • tbd Metascore
    • 60 Neil Genzlinger
    In the premiere, at least, all of that ends up being only moderately involving because it's all so calculated.
    • 75 Metascore
    • 60 Neil Genzlinger
    It’s disappointing that two of the first three episodes are little more than familiar reworkings of overused formulas and plots. But Episode 2 indicates the concept’s promise; the show stops trying to be too many things and, for a half-hour at least, finds a groove.
    • 77 Metascore
    • 60 Neil Genzlinger
    Yes, the show will be funny, in an innocuous sort of way, if it continues to stay off that pulpit. But if it becomes a little less cautious occasionally, it might rise from merely diverting to important.
    • 79 Metascore
    • 60 Neil Genzlinger
    Sure, it all makes for pretty filmmaking, but isn't not having to risk your life for a simple meal one of the benefits of civilization? There's something unsettling about glorifying subsistence living for the sake of our high-definition televisions.
    • 62 Metascore
    • 60 Neil Genzlinger
    Over all, Ms. Handler’s attempt to reinvent the form doesn’t quite succeed, but the best moments of these films at least are more fun than most documentaries.
    • 70 Metascore
    • 60 Neil Genzlinger
    Hunted ends up being a competent addition to the high-stakes-snooping genre but not a very surprising one.
    • 75 Metascore
    • 60 Neil Genzlinger
    This grab-bag approach has certainly worked well enough for other prime-time soap operas, and it will no doubt find an audience here, but the strands interweave awkwardly in the early going. Some genuinely lazy scene-making saps the show of credibility.
    • 58 Metascore
    • 60 Neil Genzlinger
    If the various kinks work themselves out, The Finder will at the least be a medium-strength entry in the increasingly crowded field of comedy-dramas featuring eccentric characters.
    • 57 Metascore
    • 60 Neil Genzlinger
    It may turn into one of those crime shows that are competent enough but, well, forgettable, despite Ms. Montgomery's charms.
    • 56 Metascore
    • 60 Neil Genzlinger
    The opening installment is sharp over all but has squishy spots; that makes you wonder if the premise and the execution are up to the challenge of a series run.
    • 48 Metascore
    • 60 Neil Genzlinger
    It’s a crisply paced suburban potboiler with a murdered child at the center, and if you’ve been sucked in by other shows in this genre you may find yourself sucked in by this one. But also feel free to be vaguely annoyed that those clever TV makers are seducing you with formulas rather than freshness.
    • 70 Metascore
    • 60 Neil Genzlinger
    This may be a case where a little more violence would help make the stakes seem more real. The main issues for these royals and would-be royals are when to bow and to whom.
    • 32 Metascore
    • 60 Neil Genzlinger
    Yes, this rips off “The Larry Sanders Show” and to some extent “Curb Your Enthusiasm,” and it’s not nearly as good as either of those. But it has a certain crass, infuriating charm.
    • 76 Metascore
    • 60 Neil Genzlinger
    John Oliver, a graduate of “The Daily Show With Jon Stewart,” didn’t exactly break the mold when he rolled out his new show, Last Week Tonight, late on Sunday on HBO; he just tugged at it a bit.
    • 56 Metascore
    • 60 Neil Genzlinger
    The chemistry may develop, but whether the writing will keep pace is unclear from the premiere.
    • 76 Metascore
    • 60 Neil Genzlinger
    The revisiting of Ripper lore, though, is relatively painless, especially since the most interesting character in this series is Edward Buchan (Steve Pemberton), the Ripperologist who tips Chandler to the similarities between the then and the now.
    • 46 Metascore
    • 60 Neil Genzlinger
    The story is cheekily told here, and pretty well, if you don’t mind “cheeky” as the tone for a tale in which real people died.
    • 72 Metascore
    • 60 Neil Genzlinger
    Entire scenes from the premiere look like an ABC Family series.... From the first two episodes of the new season, it seems as if finding a balance between career and family, especially for the women in this show, might emerge as a thread. That would put this season in some oft-mined territory. And, of course, just by moving into the ’60s it’s already eligible for a fatigue warning.
    • 56 Metascore
    • 60 Neil Genzlinger
    A comedy with a fair amount of melodrama mixed in. The comic parts--fistfights between costumed characters, cattiness in the costume room, training sessions with militarylike intensity--can be pretty funny.... The melodrama is more uneven.
    • 42 Metascore
    • 60 Neil Genzlinger
    It's a drama that takes the wretched New Jersey caricature created by trashy shows like "Jersey Shore" and uses it as a force for good, or at least for reasonably good courtroom tales.
    • 72 Metascore
    • 60 Neil Genzlinger
    It has lots of stunning images, but if there’s a unifying concept, it is apparently going to emerge more gradually than a single episode allows.
    • 50 Metascore
    • 60 Neil Genzlinger
    After the four episodes made available for advance viewing, things were clarifying somewhat and an addictive quality was emerging, but not everyone may get that far.
    • 73 Metascore
    • 60 Neil Genzlinger
    There are interesting tidbits about the history of fashion photography--the racism, the drugs--but not much serious discussion about the cultural consequences of the evolution of the business.
    • 33 Metascore
    • 60 Neil Genzlinger
    Ms. Kreuk and Nina Lisandrello, as her police force partner, are unconvincing as detectives. But the pilot's hint of a connection between the beast's condition and the murder of Catherine's mother offers the promise of future depth.
    • 56 Metascore
    • 60 Neil Genzlinger
    It’s a solid start, and were this the first series of its kind, King & Maxwell would seem like a sure hit. That it’s working the same territory as various other well-made shows costs it some luster, but it could still settle in as a reliable schedule filler.
    • 71 Metascore
    • 60 Neil Genzlinger
    The question is whether it has any depth or insight to offer once it [raises your eyebrows]. The evidence provided by the first three episodes is inconclusive.
    • 79 Metascore
    • 60 Neil Genzlinger
    The language is supposed to be realistic and maybe it is realistic, but it often feels self-conscious, like an overly thick Southern accent. That's too bad, because when Mr. Simon and Edward Burns, who are credited with the writing of the first five episodes, pull back a bit, they sometimes achieve a rough eloquence.
    • 57 Metascore
    • 60 Neil Genzlinger
    [Those Who Can't] is a bit better than “Teachers,” because it’s disgusting.... It goes in big on gross-out humor, crass puns and general raunchiness. But it does so with some originality, thanks to the core three performers and a well-deployed supporting cast.
    • 54 Metascore
    • 60 Neil Genzlinger
    The competitors may not be all that amusing, but some of the show's gimmicks are.
    • 51 Metascore
    • 60 Neil Genzlinger
    Mr. Simmons stayed in his comfort zone almost exclusively, and the result was largely a televised version of what you might hear on sports talk radio, only with cursing. The cursing was the best part, actually. Mr. Affleck did most of it.
    • tbd Metascore
    • 60 Neil Genzlinger
    In the first two episodes, there are signs that the series might have grown up a bit during the off season.
    • 74 Metascore
    • 60 Neil Genzlinger
    Four hours may seem like a lot, and some of the commentary sounds as if it’s being read from a script, which doesn’t help the time pass quickly. But if anyone deserves a longer-than-usual television documentary, it’s Sinatra, who would have turned 100 this December. The film becomes more interesting the less far back your memory goes.
    • tbd Metascore
    • 60 Neil Genzlinger
    The film’s disinclination to engage in a serious examination of Mr. Guccione’s role in tumultuous times borders on laughable in a few places.
    • 37 Metascore
    • 50 Neil Genzlinger
    Immortalized is the better of the two ["Freakshow" being the other] because it revels in its own absurdity.
    • tbd Metascore
    • 50 Neil Genzlinger
    It's not a great show, but it's interesting in an experience-it-before-it-vanishes sort of way.
    • 43 Metascore
    • 50 Neil Genzlinger
    The series gets more substantive and quicker starting in Episode 6, but over all the pieces--man-boys on the prowl, bromance, occasional forays into seriousness--fit together uncomfortably.
    • 66 Metascore
    • 50 Neil Genzlinger
    The comedy in the show is a grab bag, sometimes subtle, sometimes self-consciously outlandish.
    • 73 Metascore
    • 50 Neil Genzlinger
    It’s pleasant enough, with enjoyable guest stars, but it comes too late in the evolution of this genre to make much of an impression.
    • 56 Metascore
    • 50 Neil Genzlinger
    [Coma] is sometimes entertaining, sometimes infuriating.
    • 45 Metascore
    • 50 Neil Genzlinger
    Peter Sagal begins Constitution USA, his four-part exploration of the founding American document, with look-at-me gimmicks that are more annoying than enlightening, but the series grows more substantive as it goes along.
    • 45 Metascore
    • 50 Neil Genzlinger
    Don’t look for the depth of “House,” “Grey’s Anatomy” or other top-flight medical dramas here. But if preposterous, pulse-pounding pileups of bizarre accidents and obscure medical conditions appeal to you, sure, put the trashy beach novel aside and help yourself.
    • 68 Metascore
    • 50 Neil Genzlinger
    The result is a show that probably isn’t destined for repeat viewings but provides a few wry moments and even a listenable song or two.
    • tbd Metascore
    • 50 Neil Genzlinger
    The basics of the story are given interview-style, with the most telegenic parts recreated in sparse scenes. The presentations are peppered with enmity from both directions.
    • 56 Metascore
    • 50 Neil Genzlinger
    The staging is suffocatingly old-school: Stand up, deliver laugh line, walk to other side of shop for no reason other than to make room for the next character to stand and deliver. That’s not to say that the material isn’t moderately amusing.
    • 71 Metascore
    • 50 Neil Genzlinger
    The shortcoming of NY Med isn’t Dr. Oz (who is not around much in the early episodes); it’s that the program doesn’t trust its own best vignettes, lingering too long on emotions that speak for themselves, tarting up inherently powerful moments with syrupy music.
    • tbd Metascore
    • 50 Neil Genzlinger
    Quite a number of rats buy the farm, or whatever it is that rats buy, at the hands of the Magic men in the opening episode. But these two guys are not telegenic or charismatic enough to make rodent removal interesting.
    • 60 Metascore
    • 50 Neil Genzlinger
    The gore is plentiful, the tone is inconsistent, and by the end only one thing is undeniably clear: Mockingbird Lane is a very different creature from "The Munsters."
    • 67 Metascore
    • 50 Neil Genzlinger
    The malaria story, it seems to say, is filmable only if the central figures are white and it is larded up with the kind of button-pushing that television dramas thrive on.... But the scenes in which the two actresses are together have some real power.
    • 56 Metascore
    • 50 Neil Genzlinger
    An episode featuring Criss Angel, the “Mindfreak” illusionist, is also quite funny, and practically every installment is enlivened with attention-getting guest stars from the Las Vegas scene. But the series, created by Scot Armstrong, invests an awful lot in the comedic value of crassness, and the result is only a 50-50 success rate.
    • 50 Metascore
    • 50 Neil Genzlinger
    Sharknado 2 intends to be nothing more than dumb fun, and it succeeds well enough at that. But it also leaves you regretting that the Sharknado team (Anthony C. Ferrante again directed from a script by Thunder Levin) didn’t reach for camp greatness.
    • 59 Metascore
    • 50 Neil Genzlinger
    Forget the incongruity of the premise--we’re asked to believe that Alice and Valerie’s company is both the best private investigation firm around and the most incompetent--and instead just be dismayed at the prospect of having to spend more time with Alice and Ben. They, like everyone else in this series, have a “Stepford Wives” blandness to them.
    • 57 Metascore
    • 50 Neil Genzlinger
    The scripts are efficient. The acting is decent. But you're likely to find yourself just waiting for the familiar crises and character complications to come along, and sure enough, they do.
    • 69 Metascore
    • 50 Neil Genzlinger
    The family blunders its way into all sorts of awkward situations, with the two children (Ashley Gerasimovich and Liam Carroll) repeatedly being set up for psychological scars. Let this be your gauge for deciding whether to watch. ... All in all, it’s a low-aspiration enterprise.
    • 66 Metascore
    • 50 Neil Genzlinger
    All in all, it wasn’t an unpleasant revisiting of a great musical; it just wasn’t a particularly coherent or revelatory one.
    • 52 Metascore
    • 50 Neil Genzlinger
    Chicago Med is so exactly what you expect it to be that there’s practically no point describing it, a bad thing if you like your shows innovative and unpredictable, but a good thing if you can’t get enough trauma room gore and dramatics.
    • 51 Metascore
    • 50 Neil Genzlinger
    After a convincing opening episode, American Gothic turns soapier and more florid in Episode 2.
    • tbd Metascore
    • 50 Neil Genzlinger
    The film has some very nice moments, but it also has its share of awkwardness, and the director, the television veteran Roger Young, can’t seem to get his multinational cast on the same page or find a consistent tone.
    • 48 Metascore
    • 50 Neil Genzlinger
    Its first episode raises some chills--those initial moments of realization during an outbreak always do--but as the series progresses it increasingly seems assembled from characters and plot threads that we’ve seen repeatedly.
    • 62 Metascore
    • 50 Neil Genzlinger
    Not until Episode 2 do we get the first flashback (“12 years earlier”) that enables us to begin piecing together Ben’s origin story and motivation. That’s too slow a pace for a show as derivative as this one is.
    • 45 Metascore
    • 50 Neil Genzlinger
    All of that good early work by the cast explodes in a ball of predictability.
    • 43 Metascore
    • 50 Neil Genzlinger
    It might not even be around long enough to develop a consistent tone or viewpoint, both of which are lacking in the pilot. But it has a pretty good actress, Anne Heche ("Hung"), at the head of the cast, and it at least tries to add a touch of levity to what has always been a ponderously serious genre.
    • tbd Metascore
    • 50 Neil Genzlinger
    The usual stuff of such shows--arguments among team members; a race against the clock--is served up, though here the disagreements are peppered with phrases out of a physics class about kinetic friction, static friction and so on.
    • 66 Metascore
    • 50 Neil Genzlinger
    The program, though, has too few Mr. Behls [Hal Behl, an aeronautical engineer] and too many talking heads, most of them stating the obvious. It also leans too heavily on those funny vintage clips that make everyone back in the early days of the Cold War look like idiots.
    • 68 Metascore
    • 50 Neil Genzlinger
    The challenges are too outsize and the format is too confusing to take full advantage of the gimmick.
    • 59 Metascore
    • 50 Neil Genzlinger
    The fictional half isn’t particularly sophisticated as space odysseys go. ... Where the series gets sometimes intriguing, sometimes awkward, is in the shifts to documentary mode.
    • 52 Metascore
    • 50 Neil Genzlinger
    StartUp is trying to meld the high-finance sheen of series like “Billions” with the gee-whiz digital jargon of, say, “Scorpion,” but it never seems innovative, only imitative. The casting, however, is refreshing, even if the plot strains credulity.
    • 62 Metascore
    • 50 Neil Genzlinger
    Dorian has potential, but Kennex, at least in the pilot, is as grim and humorless as they come. He needs to loosen up.
    • 62 Metascore
    • 50 Neil Genzlinger
    The mini-series and its characters are all over the map, stylistically, seeming unable to find the right tone for the time period.
    • 51 Metascore
    • 50 Neil Genzlinger
    [Stars Earn Stripes] drenches a promising premise in a distracting amount of troop-thanking.
    • 53 Metascore
    • 50 Neil Genzlinger
    Mr. Ritter sells the character pretty well.... The other McCarthys are also all familiar archetypes, which makes this show another in what seems to be a trend of comfort-food comedies: witty without being ambitious; safe rather than scalding.
    • 47 Metascore
    • 50 Neil Genzlinger
    This muddled series, at least from the first three episodes, doesn’t give a viewer much to latch onto.
    • 70 Metascore
    • 50 Neil Genzlinger
    The problem for this series, besides making Kyle someone we care enough about to keep watching, will be finding original ways to cast out demons. By the end of the premiere, we’ve already had an “Exorcist” scene, and as the show goes along, Anderson does the cross-and-scripture thing we’ve seen a zillion times.
    • 57 Metascore
    • 50 Neil Genzlinger
    So the Josh half of this show’s central joke grows a little tedious. In truth, so does the Billy half; he’s too resistant to too many things for scant reason. But Mr. Crystal and Mr. Gad play it gamely, and the proceedings are enlivened by an enjoyable collection of guest stars, like Steven Weber, Joe Torre and Mel Brooks.
    • 38 Metascore
    • 50 Neil Genzlinger
    Lucas Till, as the 2016 version of the title character, doesn’t make much of an impression in the premiere, which involves a bioweapon that has fallen into bad hands. It’s nice to see George Eads of “CSI: Crime Scene Investigation” back on TV as Jack Dalton, one of MacGyver’s partners in disaster prevention, but the show is bogged down by its premise.
    • 52 Metascore
    • 50 Neil Genzlinger
    There are so many vampires and undeads and such on television these days that this crew is going to have a hard time getting attention, especially if the show continues to be as much of a grab bag as the pilot episode is. Some serious focusing--on specific story lines, specific characters--should be the first order of business.
    • 66 Metascore
    • 50 Neil Genzlinger
    The show is essentially one joke--“You shouldn’t say/do that around children”--told a bunch of different ways.... The Katydids’ tastes run toward the vulgar. That is generally to the show’s detriment--it would be funnier if it didn’t mistake crass for cutting-edge so often.
    • 66 Metascore
    • 50 Neil Genzlinger
    The good bits are hilarious; the others often kind of just lie there.
    • 59 Metascore
    • 50 Neil Genzlinger
    The show turns into a case study in how not to be subtle. It has a reasonable point to make--next to a cancer diagnosis, a lot of life seems trivial--but makes it over and over again.
    • 66 Metascore
    • 50 Neil Genzlinger
    It looks like a zillion other workplace reality shows.
    • 48 Metascore
    • 50 Neil Genzlinger
    After one episode, it’s not at all clear that this show will be ambitious enough to take good advantage of the real-life goings-on in North Dakota.
    • 51 Metascore
    • 50 Neil Genzlinger
    It’s a formulaic treatment that seems intent on not making waves.
    • 37 Metascore
    • 50 Neil Genzlinger
    The ingredients here need time to jell, and the writing needs to move beyond generic glop and take advantage of Ms. Messing’s full range of talents.
    • 46 Metascore
    • 50 Neil Genzlinger
    There’s a well-scrubbed tepidness to Shirah (Cote de Pablo), and to this whole mini-series, that Ziva never would have tolerated.
    • 54 Metascore
    • 50 Neil Genzlinger
    The show does have a spark when Henry and a detective named Jo Martinez (Alana De La Garza) interact.... The actual crimes in the first two episodes, though, feel like the same old same old, immortal medical examiner or not.
    • 61 Metascore
    • 50 Neil Genzlinger
    Despite some amusing bits and clever songs, it’s only occasionally as much fun as it ought to be.
    • 67 Metascore
    • 50 Neil Genzlinger
    [The] preposterously grandiose title really needed to be strung out a bit to give an accurate picture of the program. Something like, "Mankind: The Story of All of Us, Delivered Somewhat Superficially by People You Know and Love, Because We Don't Want to Bore You."
    • tbd Metascore
    • 50 Neil Genzlinger
    The central figure tells his or her story, the narration accompanied by re-enactments. It’s an uncomfortable mix--the re-creations are often clunky and, this being MTV, they occasionally feature subtitles relating what song is being heard on the soundtrack.
    • 55 Metascore
    • 50 Neil Genzlinger
    After the shift to the Resurrection, A.D. manages to deliver some effective scenes as Mary Magdalene (Chipo Chung), Peter (Adam Levy), John (Babou Alieu Ceesay) and others come to realize that Jesus has fulfilled his promise to rise again. The producers can’t rein in their tendency toward excessive effects and overwrought dialogue, but they seem at least to be proceeding at a more patient pace.
    • tbd Metascore
    • 50 Neil Genzlinger
    Vintage clips are fun to see, and there are a few genuine moments when Mr. Richards talks about trying to establish a solo career (his new solo album is being released on Friday), and about creativity.... But there’s also a fair amount of self-aggrandizement, and of Mr. Richards laughing at his own remarks. The film, by Morgan Neville, leaves you feeling as if there were more to Mr. Richards than it has captured.
    • 72 Metascore
    • 50 Neil Genzlinger
    This series starts out with promise but ultimately ends up ordinary, another historical drama with well-regarded actors, fancy costumes and not much to distinguish it from all the others.
    • 50 Metascore
    • 50 Neil Genzlinger
    A serviceable, nonthreatening family comedy that embraces the illusion that time stopped when Chachi married Joanie.
    • 49 Metascore
    • 50 Neil Genzlinger
    Mr. Smits, like Mr. Hawkins, gets off to a slow start, but, by the fourth hour, is becoming interesting. So aside from Jack Bauer, all of the standard “24” elements are in place, including the big-budget look.
    • 55 Metascore
    • 50 Neil Genzlinger
    Although it’s moderately entertaining at times, it never makes clear why it needed to be attempted.
    • 75 Metascore
    • 50 Neil Genzlinger
    The actors did fine, but the characters and their arcs became secondary to executing the grand scheme. This, in other words, was a show that was more about individual moments than about building a story.
    • 64 Metascore
    • 50 Neil Genzlinger
    The series aims for the sass and fast-paced escapades of “Raiders of the Lost Ark” and such. That requires a comic tone and timing that haven’t quite gelled in the early going, though John Larroquette as Jenkins, the librarians’ minder, helps considerably when he finally shows up in the second of Sunday’s two episodes.
    • 67 Metascore
    • 50 Neil Genzlinger
    By the end of this documentary, yes, you're convinced that Mr. Lewis was a much larger figure than is generally acknowledged. But you still don't feel as if you know him.
    • 57 Metascore
    • 50 Neil Genzlinger
    Fans of the novel will no doubt watch and revel in this relatively big-budget treatment. Others might find its pseudo-biblical, pseudo-feminist mix hard to take.
    • 48 Metascore
    • 50 Neil Genzlinger
    Freakshow is kind of drab compared with “Immortalized,” especially for anyone who has ever lived within driving distance of Coney Island.

Top Trailers