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 16.9 points lower than other critics. (0-100 point scale)

Paul Brownfield's Scores

  • TV
Average review score: 49
Highest review score: 90 The Colbert Report: Season 1
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]
    • 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.
    • 87 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.
    • 65 Metascore
    • 80 Paul Brownfield
    A small-scale gem. [3 Aug 2005]
    • 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]
    • 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]
    • 76 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]
    • 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]
    • 48 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]
    • 45 Metascore
    • 60 Paul Brownfield
    "Free Ride" is a bit more than passably good, but like "Arrested [Development]" it feels hard to love.
    • 60 Metascore
    • 60 Paul Brownfield
    Almost immediately you can tell it's a kind of fantasy camp for "Sports Center" junkies.
    • 57 Metascore
    • 60 Paul Brownfield
    The show... doesn't seem to be aiming for anything higher than a comfortable middle ground, bypassing a chance to watch Goldblum send up our preconceived idea of Goldblum.
    • 68 Metascore
    • 60 Paul Brownfield
    Steinberg is a polite, solicitous host -- too polite and solicitous.
    • 51 Metascore
    • 60 Paul Brownfield
    Sometimes "John From Cincinnati" is a muddle, at other times rich drama and divine comedy. And sometimes it's all of that at once.
    • 67 Metascore
    • 50 Paul Brownfield
    It's "Desperate Housewives" all over again -- the whodunit overlaid by a titillating comedy of shame-based suburban manners and shame-based depravity, the word "bitch" used scandalously. [24 Sep 2006]
    • 58 Metascore
    • 50 Paul Brownfield
    The comedy equivalent of low-hanging fruit. [3 June 2005, p.E1]
    • 32 Metascore
    • 50 Paul Brownfield
    "Inconceivable" is a much more tentative exercise than "Nip/Tuck," offering only the mildest hints of comment on the world it depicts, of affluent people going to great lengths to bear children.
    • 34 Metascore
    • 50 Paul Brownfield
    Nothing about the pilot of "Teachers" is particularly eye- or ear-opening.
    • 29 Metascore
    • 50 Paul Brownfield
    Hewitt is quite good, or as good as the show allows; there are some potholes along the way, as the script sacrifices sense to sentiment.
    • 54 Metascore
    • 50 Paul Brownfield
    "Human Trafficking" is at once a sobering, tough-to-watch dramatization about girls taken from the streets of their hometowns around the world and sold into sexual servitude and a clichéd drama about said topic.
    • 43 Metascore
    • 50 Paul Brownfield
    The show, in its way, is too slight to be totally fulfilling, tending to collapse into slapstick, but it can get by on moments.
    • 51 Metascore
    • 50 Paul Brownfield
    The pilot has a "Steel Magnolias" feel to it: Too many stars, too many faces, too many names, a cornucopia of character business.
    • 60 Metascore
    • 50 Paul Brownfield
    You begin to feel strung along on an errand whose complexities can't mask the fact that the main character isn't great company.
    • 75 Metascore
    • 50 Paul Brownfield
    Here it feels as if Sorkin has chosen an outdated media milieu for his secular humanist dramaturgy. His first TV series, "Sports Night," was ahead of the times, but "Studio 60" is behind them.
    • 64 Metascore
    • 50 Paul Brownfield
    It was [creators Burnett and Beckerman's] style on "Ed" to be too cutesy by half, and so here
    • 42 Metascore
    • 50 Paul Brownfield
    The trouble with Feresten isn't his comedy; it's his difficulty creating any intimacy with the audience or the camera. He's got the irony down cold but the empathy not so much.
    • 62 Metascore
    • 40 Paul Brownfield
    The devices are in place, and there's intelligent writing, but here the approach feels a bit tired, like a better version of those commercials set in offices, where the drabness of corporate life is mocked to sell some shiny new gadget, or to make you feel superior to it all. [23 Mar 2005, p.E1]
    • 86 Metascore
    • 40 Paul Brownfield
    Clearly, he cares about firefighters and knows them, knows the cadence of their speech, what matters to them. But Rescue Me feels like a misguided gesture of goodwill -- one that serves Leary's vanity in addition to his heart.
    • 65 Metascore
    • 40 Paul Brownfield
    For all its putative complexity, then, its passing examination of radical Islam versus peaceable Islam, its allusions to Guantanamo Bay and the Iraq insurgency, "Sleeper Cell" feels more like "The Shield," the L.A.-based cop drama on FX, the characters talking in overly stylized, expository quips, the L.A. cityscape whipping past in convincing fashion.
    • 70 Metascore
    • 40 Paul Brownfield
    The result is another finely acted cable drama with great production values and the germ of an interesting idea behind it but no coherent tone or character development or story, even -- just a series of attempts to pass off creatively exaggerated behavior, the more desperate the better, as some kind of social commentary.
    • 23 Metascore
    • 40 Paul Brownfield
    The problem with "Modern Men" is that the scenes between the guys and the life coach don't play.
    • 50 Metascore
    • 40 Paul Brownfield
    Graft a "Big Chill"-like premise onto a stiff yet sudsy soap opera and you still have a stiff yet sudsy soap opera.
    • 37 Metascore
    • 40 Paul Brownfield
    Romijn is quite fetching here, both in looks and performance.
    • 48 Metascore
    • 40 Paul Brownfield
    The notion of Graham as a TV star is an enticing one, but she's starring in a show that's not big enough for her.
    • 78 Metascore
    • 40 Paul Brownfield
    Peter Berg... seems to have decided that the show would only work if storytelling were pared down to quick-cutting iconography set to guitars.
    • 37 Metascore
    • 40 Paul Brownfield
    The standoffs... are less than exhilarating thrill rides.
    • 33 Metascore
    • 40 Paul Brownfield
    It's "Entourage" on the cheap, without the fun stuff.
    • 35 Metascore
    • 40 Paul Brownfield
    Stale.
    • 70 Metascore
    • 30 Paul Brownfield
    "Project Runway" treats the contestants, the majority of whom are either from New York or Los Angeles and in their 20s, with an air of contempt and condescension. [30 Nov 2004]
    • 40 Metascore
    • 30 Paul Brownfield
    It isn't a bad gimmick, establishing a certain tension, but the premise is about the only thing that recommends "The Evidence," a show that otherwise seems to be moving you -- rather than moving -- through its procedural paces.
    • 41 Metascore
    • 30 Paul Brownfield
    "What About Brian" is "Prison Break," except the prison is a man's feelings and escape involves eluding the warden of his doubts, and we're talking maximum-security misgivings.
    • 40 Metascore
    • 30 Paul Brownfield
    What can I tell you about "Four Kings" that you won't already know? It premieres tonight at 8:30 on NBC. By 8:46, or thereabouts, you will understand everything.
    • 26 Metascore
    • 30 Paul Brownfield
    The lavishing [of gifts] never abates, until what you're witnessing feels less like a party than an icky display of instant wealth meant to leave the rest of us drooling, wondering what about our own lives might get us on a TV show.
    • 53 Metascore
    • 30 Paul Brownfield
    "Runaway" begs your interest (who doesn't like a road trip story, even when the Feds aren't on your tail?) before fading for lack of energy, not to mention originality.
    • 23 Metascore
    • 30 Paul Brownfield
    Here, I guess, is a dude's version of an ABC chick show.
    • 21 Metascore
    • 30 Paul Brownfield
    "Sons of Hollywood" is the answer to a question nobody was wondering: What if you did "Entourage" with actual Hollywood layabouts, without the writing and the acting and, you know, all that other work stuff?
    • 19 Metascore
    • 30 Paul Brownfield
    Their team of comedy actors has some spunk and talent, but the show more closely resembles a commercial for mystery dinner theater, complete with testimonials by real audience members about how fun it all was in the end.
    • 45 Metascore
    • 20 Paul Brownfield
    It's satirical all right, paced roughly like "Arrested Development," but not very funny or believable.
    • 39 Metascore
    • 20 Paul Brownfield
    As the mission's race against time ticks down, "E-Ring" thinks it's got you by the throat, and that's true, because you feel like you're being led around on a leash.
    • 41 Metascore
    • 20 Paul Brownfield
    Sadly, this show makes a mess of its neighborhood-centric premise.
    • 47 Metascore
    • 20 Paul Brownfield
    [The] show is creatively forced, the sisters speaking in a zeitgeist-sounding dialect over "Sex and the City's" ambient xylophone, without ever landing in the kind of zeitgeist-capturing moment that made that show a hit.
    • 29 Metascore
    • 20 Paul Brownfield
    [A] warmed-over hip-hop saga.
    • 25 Metascore
    • 20 Paul Brownfield
    "Happy Hour," or as I like to call it: "Really, Fox? This?"
    • 37 Metascore
    • 20 Paul Brownfield
    Almost as soon as the sitcom begins you can feel where every joke is going to end.
    • 27 Metascore
    • 20 Paul Brownfield
    [It] instantly displays a commitment to slapstick in direct proportion to a state of comedic denial.
    • 22 Metascore
    • 10 Paul Brownfield
    A light-as-a-feather new sitcom.
    • 31 Metascore
    • 10 Paul Brownfield
    We're to believe ABC took a look at all this and said, yes, yes and yes.
    • 28 Metascore
    • 10 Paul Brownfield
    "Love, Inc." is as unintentionally unfunny as "Room and Bored" -- the sitcom within a sitcom on HBO's "The Comeback" -- was meant to be bad.
    • 39 Metascore
    • 10 Paul Brownfield
    "Big Day" is basically bad community theater with music clearances.
    • 45 Metascore
    • 0 Paul Brownfield
    NBC sent out five episodes; I sat through three before throwing the DVD on the Donate to Public Library pile. I would like to apologize in advance to the library.