For 64 reviews, this critic has graded:
  • 53% higher than the average critic
  • 0% same as the average critic
  • 47% lower than the average critic
On average, this critic grades 3.4 points higher than other critics. (0-100 point scale)

Sara Smith's Scores

Average review score: 69
Highest review score: 100 True Detective: Season 1
Lowest review score: 30 Phil Spector
Score distribution:
  1. Positive: 44 out of 64
  2. Negative: 2 out of 64
64 tv reviews
    • 74 Metascore
    • 80 Sara Smith
    The freshest take on the single-camera mockumentary since “Curb Your Enthusiasm.”
    • 67 Metascore
    • 80 Sara Smith
    Walton and Stockham are a seamless comedy team straight out of the gate. Their banter is more salty and cynical than sappy, but that’s how it gets to you.
    • 52 Metascore
    • 70 Sara Smith
    Deception borrows a lot from that show and others, ending up more fun than challenging.
    • 59 Metascore
    • 70 Sara Smith
    Mr. Selfridge really gets rolling in its third and fourth episodes, when its interlocking stories and Piven’s outsize performance settle into place.
    • 55 Metascore
    • 70 Sara Smith
    Lead writer Daniel Knauf, who created HBO’s “Carnivale,” has tweaked Bram Stoker’s classic tale in delightful, if heavy-handed ways.
    • 56 Metascore
    • 70 Sara Smith
    The series hits its stride a few episodes in, when Lowe and Blackbeard finally get on a boat together to fight a common enemy, knowing they’re each just waiting for the right moment to kill the other. Their dynamic evokes the tense partnership between Al Swearengen and Sheriff Bullock in "Deadwood."
    • 57 Metascore
    • 70 Sara Smith
    The first hour of Scream is an efficient fright-delivery system wrapped inside a teen drama, but it’s meta-commentary that makes it worthwhile. That, and the pilot’s promise to spread out its jump scares more slowly and deliberately.
    • 88 Metascore
    • 70 Sara Smith
    Montage of Heck achieves its goal of intimacy almost too well. It’s such a tightly cropped portrait that criticizing it feels like criticizing Cobain. But it’s too long and a bit repetitive, and it keeps trying to explain its subject through his own scribblings long after his soul has been laid bare by more direct means.
    • 69 Metascore
    • 70 Sara Smith
    A year after the Rosie Larsen case ended, this new chapter is compelling enough to earn some fan forgiveness.
    • 72 Metascore
    • 70 Sara Smith
    Some critics called the book incisive and addictive, while others dismissed it as pulpy and juvenile. Under the Dome checks all those boxes in Monday’s pilot episode.
    • 66 Metascore
    • 70 Sara Smith
    Death Comes to Pemberley, on paper and the small screen, is not as satisfying as a newly discovered Austen novel would be.
    • 59 Metascore
    • 70 Sara Smith
    It’s a pleasure to watch Bean fall into his “legends,” or fake identities, even as the show pushes the boundaries of what TV audiences might accept when it comes to instantaneous computer heroics.
    • 65 Metascore
    • 70 Sara Smith
    It’s not that The Leftovers isn’t great storytelling, because it is. It’s just befuddling, violent and sad--more and more all the time, with no satisfaction in sight. Theroux is flat-out fantastic and Emmy-worthy in this role.
    • 83 Metascore
    • 70 Sara Smith
    Those who accept it for what it is--a funny, manipulative soap that relies on historical upheaval to frame its scarce plots--should be happy to hear that Downton’s new season is better than its last.
    • 62 Metascore
    • 60 Sara Smith
    The Following, compelling and frustrating from its opening credits, sets viewers up for a season-long, blood-soaked rematch between an evil intellectual and his law-enforcement nemesis.
    • 51 Metascore
    • 60 Sara Smith
    Unlike "The Office," Backstrom hasn't yet fleshed out the supporting characters to water down Wilson's well-oiled obnoxiousness generator. Once it stops explaining everyone's backstory--why is he so bitter? why is she so naive? why are the firefighters evil?--Backstrom might turn into a decent chase for the bad guy of the week.
    • 77 Metascore
    • 60 Sara Smith
    The Bridge will no doubt tie all these threads together in 13 well-executed episodes, after a lot of red herrings, victims killed in horrific ways and one final twist. It’s guaranteed to be a depressing journey, and it’s starting to feel like one we’ve been on before.
    • 71 Metascore
    • 60 Sara Smith
    Rocha, combined with the new format of The Face, creates a real threat to the Tyra empire.... [But] The Face, with a focus on posing, strutting and styling in its first few weeks, has room to fall.
    • 61 Metascore
    • 60 Sara Smith
    Although it was wise not to try to repeat the double interrogation format of the first season, there are clever nods to those closed-room confessionals, and the show eventually eases into rewarding drive-and-talks between Farrell and McAdams.... What keeps this Detective from being quite as compelling as the first is the lack of early focus.
    • 66 Metascore
    • 60 Sara Smith
    A serviceable but less-than-stellar spinoff of AMC’s hit series “The Walking Dead.”
    • 60 Metascore
    • 50 Sara Smith
    It’s a fascinating visual ride. But without heroes worth rooting for or a victim worth avenging, the rubble heaps of an imploded metropolis can only do so much heavy lifting.
    • 74 Metascore
    • 50 Sara Smith
    Alongside Roth, Shepard and talented character actor Tim Blake Nelson, Madden pulls off the sometimes treacly dialogue, but the insistent no-duh musings (“the die has been cast”) wear thin quickly.
    • 72 Metascore
    • 50 Sara Smith
    Showrunner Julian Fellowes knew he had to spice things up, apparently, so he employed a lazy, “shocking” plot device that will leave fans sickened, indignant and wondering why Fellowes just didn’t give his beloved characters something worthwhile to do instead. That offensive event aside, this season’s repetitive tropes, recycled conflicts and predictable heartbreak are not worth the trouble this time around.
    • 54 Metascore
    • 50 Sara Smith
    Holliday Grainger and Emile Hirsch are pretty great as Bonnie and Clyde, despite a just-servicable script to explain how Clyde won Bonnie’s anxiety-ridden, artistic heart.
    • 83 Metascore
    • 50 Sara Smith
    Behind the Candelabra isn’t a smear job, but it’s not a revelation, either.
    • 56 Metascore
    • 50 Sara Smith
    If the film sins against history, it's in the many omissions of intriguing minutiae that made the book worthwhile.
    • 57 Metascore
    • 50 Sara Smith
    It’s a bit of a mess.... Between the issues of race, tribalism, rape and consent, The Red Tent covers more ground than expected.
    • 54 Metascore
    • 50 Sara Smith
    Simmons, who was Juno’s dad and Brenda Leigh Johnson’s boss, is consistently funny and compelling, but the younger cast members haven’t settled into their roles yet, and the show doesn’t know what to do with them, anyway.
    • 66 Metascore
    • 40 Sara Smith
    Wayward Pines has moments where it’s a happy hot mess, but it’s mostly a muddy puddle of confusion, and it has executive producer M. Night Shyamalan’s fantastical fingerprints all over it.
    • 58 Metascore
    • 40 Sara Smith
    The show could use a return to what made it great in the first place: [Sookie and friends] battling monsters with the help of benevolent, attractive bloodsuckers.

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