Neil Genzlinger

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For 356 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 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 356
356 tv reviews
    • 96 Metascore
    • 100 Neil Genzlinger
    The new season offers even more [with casting], with delicious results.... An entertaining season of this sublime series.
    • 83 Metascore
    • 90 Neil Genzlinger
    The core portion of Jackie Robinson’s story is so familiar that Part 1 of the new Ken Burns treatment of it may not seem like vital viewing. But Part 2 examines Robinson’s later, less celebrated years, completing a portrait of an eventful life that, in the popular mind, is often confined to the ball field.
    • 85 Metascore
    • 90 Neil Genzlinger
    A blistering, demented animated series.
    • 84 Metascore
    • 90 Neil Genzlinger
    It’s a vehicle for two graying actors that gives both a chance for tour-de-force performances, and in the new television version Monday on Starz, a couple of esteemed veterans, Anthony Hopkins and Ian McKellen, get about as much out of the tale as there is to get.
    • 88 Metascore
    • 90 Neil Genzlinger
    An absorbing film by Michael Tucker and Petra Epperlein, has both [insight and subtlety], making it as rewarding as it is thought-provoking.
    • tbd Metascore
    • 90 Neil Genzlinger
    [The] brilliantly deranged animated show returns for a second season Sunday on Adult Swim, picking up where it left off: with time stopped.
    • 83 Metascore
    • 90 Neil Genzlinger
    National Treasure is a beautifully drawn portrait of ugliness, impeccably written and acted, yet painful to absorb.
    • 62 Metascore
    • 80 Neil Genzlinger
    It doesn’t try to be the movie or outdo it in terms of fright factor, nor does it provide any reasons for mockery. It’s well-made, well-acted television, which is more than can be said for some of the reboots rolling out this fall.
    • tbd Metascore
    • 80 Neil Genzlinger
    A deranged series that is simultaneously the highest possible use of the medium and the most profound statement ever made about the human condition. Also, it's hilarious, in an I'm-ashamed-to-be-laughing-at-this sort of way.
    • 55 Metascore
    • 80 Neil Genzlinger
    The casting is delicious, the characters and their stories grow more complex with each episode, and Graham and Roxanna find that you can’t serve the rich without becoming caught in the quicksand of greed. And you know how quicksand works. The harder you struggle against it, the farther it sucks you in.
    • 81 Metascore
    • 80 Neil Genzlinger
    The advice here is to forget the politics and enjoy the performances and the trip back in time.
    • tbd Metascore
    • 80 Neil Genzlinger
    Michael Ian Black is the wonderfully deadpan moderator, overseeing a debate between two two-person teams that uses the familiar structure: arguments, responses, closing arguments and so on. ... What makes it all work, though, is that these debaters aren’t merely improvising, which would have resulted in lazy comedy, at best. They have put in serious preparation time.
    • 61 Metascore
    • 80 Neil Genzlinger
    It’s been brought into the present (Clarke’s jumping-off point was the Cold War space race), but the depth and ambition are still there.
    • 81 Metascore
    • 80 Neil Genzlinger
    The smooth telling of Russo's story juxtaposed against the present day, when gay marriage is sanctioned in some states and gay characters are all over prime-time television, drives home how different the cultural landscape is from the one Russo knew.
    • 77 Metascore
    • 80 Neil Genzlinger
    This is a deceptively difficult form to nail; often those who try end up with little more than a collection of flatulence jokes. Done right, though, as it is in "Galavant," a mindless comedy is not the same as a dumb comedy. It’s smart, just in a carefree way.
    • 71 Metascore
    • 80 Neil Genzlinger
    An unpredictably enjoyable ride.
    • tbd Metascore
    • 80 Neil Genzlinger
    The show’s premise could easily have made this a silly enterprise, but with Mr. Skarsgard’s tight performance anchoring things, it instead is a first-rate psychological study.
    • 81 Metascore
    • 80 Neil Genzlinger
    This is a thoughtful series that lingers over death rather than using it for shock value; one that finds its story lines in small power struggles rather than gruesome palace coups.
    • 69 Metascore
    • 80 Neil Genzlinger
    In general, the program successfully walks a fine line between glorifying technology and treating it as a curiosity. No one knows where all this is headed, but Dark Net is at least peering into the possible futures with more sophistication than most.
    • 76 Metascore
    • 80 Neil Genzlinger
    A well-chosen supporting cast rounds things out.... And yes, they are self-absorbed, hypercritical people who you would and should hate. But the reason the show works is that, very subtly, it’s mocking them. Julie and Billy are all about self-loathing, and they invite you to loathe right along with them.
    • 72 Metascore
    • 80 Neil Genzlinger
    Under the Dome gets off to an addictive start on Monday, so much so that it’s hard to imagine any second-episode falloff in viewership.
    • 85 Metascore
    • 80 Neil Genzlinger
    In any given episode, all three of these actresses may be called upon for slapstick comedy (for Ms. Metcalf, in the season premiere, there’s an outlandish scene in a bathroom stall), deadpan humor and actual pathos, since their patients are often frail, facing dementia or outright dying. And they deliver with nuanced performances that turn quick glances or sighs into punch lines.
    • tbd Metascore
    • 80 Neil Genzlinger
    Starz, though, knows the formula for these costume-heavy action dramas from experience with shows like “Spartacus” and “Camelot.” And that formula is executed with particular skill in Black Sails, thanks to some strong performances and an exploration of the consequences of greed that could have come out of modern-day Wall Street.
    • 58 Metascore
    • 80 Neil Genzlinger
    Ms. Bans employs a flashback structure that keeps things lively, repeatedly revisiting the day that Adam vanished from different angles. Yes, this show is guilty-pleasure fare, but, at least after two episodes, it holds interest rather well, and it has only just begun to open all those closets where family secrets hide.
    • 49 Metascore
    • 80 Neil Genzlinger
    When Salem isn’t being deliberately outrageous, it’s cultivating a dynamic that could be fruitful as things move along.
    • 73 Metascore
    • 80 Neil Genzlinger
    Every so often a staff member, usually DiDi, is shown in a quiet moment with a patient, providing actual care. These small scenes end up being surprisingly moving because this fictional hospital unit, in all its ridiculousness, feels somehow true to life.
    • 75 Metascore
    • 80 Neil Genzlinger
    Just when the crowd thinks it knows where he’s going, he jerks the string and sends things in a different direction, to great effect. It’s a gimmick that takes a refined sense of timing and a mastery of misdirection, and Mr. Cosby, who is 76, shows that he still has both.
    • 75 Metascore
    • 80 Neil Genzlinger
    It hardly needs saying that Ms. Silverman’s material is not for everybody.... But she isn’t spewing things out randomly, hoping to get by on shock value. The execution is fairly intricate.
    • 79 Metascore
    • 80 Neil Genzlinger
    Once the annual avalanche of Halloween-themed episodes, specials and movies overtakes TV, you probably don't expect to be using the word "charming" very often. But charming perfectly describes one such entry, Toy Story of Terror!
    • 59 Metascore
    • 80 Neil Genzlinger
    Like some of television’s more out-there animated shows, this one is hard to describe beyond broad outlines, because it’s so odd, a combination of droll and naughty that seems improbable but works deliciously.

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