Paul Brownfield
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For 80 reviews, this critic has graded:
  • 42% higher than the average critic
  • 2% same as the average critic
  • 56% lower than the average critic
On average, this critic grades 16.2 points lower than other critics. (0-100 point scale)

Paul Brownfield's Scores

Average review score: 49
Highest review score: 90 The Sopranos: Season 6
Lowest review score: 0 The Black Donnellys: Season 1
Score distribution:
  1. Positive: 22 out of 80
  2. Negative: 22 out of 80
80 tv reviews
    • 96 Metascore
    • 90 Paul Brownfield
    The thing about "The Sopranos" is that strands of character detail -- Carmela Soprano's fingernails, the way Tony breathes through his nose when he eats -- stay with you long after you've forgotten whose cut of a garbage route has precipitated a beef between which wiseguys.
    • 65 Metascore
    • 90 Paul Brownfield
    In the run-up to the show it all sounded a bit hard to get your head around, but in the flesh the show zinged, at least this first week.
    • 93 Metascore
    • 80 Paul Brownfield
    It's all kind of pleasingly thematic, alternately gritty and funny and caked with moral decay. Milch loves the wordplay; the show's language is one of its constant sources of pleasure. Not everyone's drunk in "Deadwood," but the liquor flows freely, lubricating the mood; the way the show is lighted, it always seems like late afternoon, and the set is a dingy, muddy Main Street with little side neighborhoods that function as slums. [6 Mar 2005, p.E28]
    • Los Angeles Times
    • 85 Metascore
    • 80 Paul Brownfield
    The dialogue is "Deadwood's" calling card, with its mixture of gutter and Elizabethan grace. It layers Milch's broader, working theme -- the coming-together of various organisms to create a single, functioning one.
    • 86 Metascore
    • 80 Paul Brownfield
    It knows the buttons it wants to push (fear of flying, fear of abandonment, fear of the unknown) and pushes them, repeatedly, like a kid playing a video game.
    • 64 Metascore
    • 80 Paul Brownfield
    A small-scale gem. [3 Aug 2005]
    • Los Angeles Times
    • 68 Metascore
    • 80 Paul Brownfield
    It's very well-acted and meanwhile, when it can stand it, kind of tender, although it's far more interested in "Curb"-like moments of uncomfortable confrontation.
    • 88 Metascore
    • 80 Paul Brownfield
    The show thus far feels more observational than story-driven; it relies on our desire to listen to Rock talk. And we do want to listen, because Rock is hilarious.
    • 77 Metascore
    • 80 Paul Brownfield
    From the start, it's mostly on Hall to seduce us, and he's so artful with the material that he consistently elevates it.
    • 75 Metascore
    • 70 Paul Brownfield
    This kind of straight, no-chaser approach to patient care is what makes House a satisfying riff on any number of doctors I've seen on TV and know I will never have taking care of me. [16 Nov 2004, p.E1]
    • Los Angeles Times
    • 62 Metascore
    • 70 Paul Brownfield
    It's promising material, even if you rarely get to experience it without the sudden intrusion of a Counting Crows-like dirge or the strange sensation that Sarah Jessica Parker is wondering, in voice-over, whether she has what it takes to be a brain surgeon. [25 March 2005, p.E29]
    • Los Angeles Times
    • 75 Metascore
    • 70 Paul Brownfield
    If the most overly praised TV dramas hit you over the head with their stiff coherence, Huff goes the other way, sketching in a world that is suggestively there but not quite, and swinging at big "Angels in America"-type themes more often than nailing them.
    • 73 Metascore
    • 70 Paul Brownfield
    The show isn't brilliant, but it is audaciously alive.
    • 59 Metascore
    • 70 Paul Brownfield
    A loud, believably unbelievable ghost story, a different ghost from classic lore guest-starring each week.
    • 77 Metascore
    • 70 Paul Brownfield
    Watching "My Name Is Earl," you feel like you're in a movie, or at least a movie trailer. In ways more good than bad, it's immediately comprehensible.
    • 33 Metascore
    • 70 Paul Brownfield
    An ostensibly ridiculous but subtly intelligent soap.
    • 72 Metascore
    • 70 Paul Brownfield
    Unlike "Lost," which ended its first season twisted around itself with mystery and mythology, "Invasion" doesn't seem poised to madden you that way. Its ambition is smaller and more self-contained; weirdness will visit a town and change relationships among an extended, and messy, family.
    • 64 Metascore
    • 70 Paul Brownfield
    "Top Chef" seems like a no-brainer, an extension both of the interactivity of TV cooking and the art-and-craft side of reality shows, in which people are actually making things as opposed to just asses of themselves.
    • 59 Metascore
    • 70 Paul Brownfield
    Highly watchable. ... The show, an obvious riff on "Desperate Housewives" and "Laguna Beach: The Real OC," is less glossily executed than those but also, for all this, trashier and more believably grotesque. [21 Mar 2006]
    • Los Angeles Times
    • 59 Metascore
    • 70 Paul Brownfield
    The show is actually good, quietly so, in that way sitcoms rarely are quiet anymore.
    • 68 Metascore
    • 70 Paul Brownfield
    "Kidnapped" is stylishly executed TV brain food, a little too moody for its own good but otherwise fine pulp.
    • 88 Metascore
    • 70 Paul Brownfield
    "Longford," perhaps, could as easily have been a stage play — a taut, four- or five-person one. But the filmmakers artfully weave in documentary footage of the period to remind us of the personal suffering and public hand-wringing the killers caused.
    • 57 Metascore
    • 60 Paul Brownfield
    "Carnivale" is beautiful to look at, but it drags. ... To watch "Carnivale" is to feel you have purchased a moody Tom Waits concept album, where he's banging on trash can lids and mumbling about Satan into a megaphone. [7 Jan 2005]
    • Los Angeles Times
    • 47 Metascore
    • 60 Paul Brownfield
    It feels as if you've happened across a British sitcom or a rerun of "MADtv."
    • 53 Metascore
    • 60 Paul Brownfield
    It's rather old-fashioned, except that there's something real about the chemistry.
    • 28 Metascore
    • 60 Paul Brownfield
    The result is a show that tilts toward the familiar except for the man in the middle of it. Rapaport... is a fresh choice as a man-boy whose wife and kids dance circles around him.
    • 55 Metascore
    • 60 Paul Brownfield
    Rather too slick for its own good.
    • 44 Metascore
    • 60 Paul Brownfield
    Feels like an indie feature idea crammed into a sitcom.
    • 70 Metascore
    • 60 Paul Brownfield
    As comedy it's hit-and-miss; what sells the show are the in-between things, the nonsense sibling spats between Dennis and Dee, the way Charlie's voice rises as his anxiety level does, the loose play of the banter. But if giving DeVito a prominent role will up the attendance, it doesn't immediately up the comedy. [28 Jun 2006]
    • Los Angeles Times
    • 45 Metascore
    • 60 Paul Brownfield
    "Free Ride" is a bit more than passably good, but like "Arrested [Development]" it feels hard to love.

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