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

Paul Brownfield's Scores

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.
    • 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.
    • 33 Metascore
    • 70 Paul Brownfield
    An ostensibly ridiculous but subtly intelligent soap.
    • 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.
    • 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.
    • 39 Metascore
    • 10 Paul Brownfield
    "Big Day" is basically bad community theater with music clearances.
    • 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.
    • 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.
    • 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.
    • 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?
    • 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.
    • 60 Metascore
    • 60 Paul Brownfield
    Almost immediately you can tell it's a kind of fantasy camp for "Sports Center" junkies.
    • 37 Metascore
    • 40 Paul Brownfield
    The standoffs... are less than exhilarating thrill rides.
    • 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.
    • 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.
    • 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.
    • 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.
    • 37 Metascore
    • 20 Paul Brownfield
    Almost as soon as the sitcom begins you can feel where every joke is going to end.
    • 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.
    • 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
    • 64 Metascore
    • 50 Paul Brownfield
    It was [creators Burnett and Beckerman's] style on "Ed" to be too cutesy by half, and so here
    • 37 Metascore
    • 40 Paul Brownfield
    Romijn is quite fetching here, both in looks and performance.
    • 48 Metascore
    • 60 Paul Brownfield
    It feels as if you've happened across a British sitcom or a rerun of "MADtv."
    • 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.
    • 73 Metascore
    • 70 Paul Brownfield
    The show isn't brilliant, but it is audaciously alive.
    • 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.
    • 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.
    • 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.
    • 45 Metascore
    • 60 Paul Brownfield
    "Free Ride" is a bit more than passably good, but like "Arrested [Development]" it feels hard to love.