For 45 reviews, this critic has graded:
  • 55% higher than the average critic
  • 0% same as the average critic
  • 45% lower than the average critic
On average, this critic grades 2.9 points higher than other critics. (0-100 point scale)

Sara Smith's Scores

Average review score: 67
Highest review score: 100 True Detective: Season 1
Lowest review score: 30 Phil Spector: Season 1
Score distribution:
  1. Positive: 30 out of 45
  2. Negative: 2 out of 45
45 tv reviews
    • 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.
    • 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.
    • 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.
    • 57 Metascore
    • 50 Sara Smith
    If the film sins against history, it's in the many omissions of intriguing minutiae that made the book worthwhile.
    • 82 Metascore
    • 50 Sara Smith
    Behind the Candelabra isn’t a smear job, but it’s not a revelation, either.
    • 59 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.
    • 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.
    • 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.
    • 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.
    • 56 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.
    • 57 Metascore
    • 40 Sara Smith
    Black Sails is exactly like the 18th-century Caribbean pirates it brings to life: dirty, amoral and worth stomaching only when there are no women around.
    • 49 Metascore
    • 40 Sara Smith
    Lifetime goes there, then backs away from the issue immediately, making for some scenes that add nothing to the story but brief bouts of nausea.
    • 60 Metascore
    • 30 Sara Smith
    Mamet has supplied Phil Spector with his signature rapid-fire dialogue, but nameless attorneys and consultants interrupting one another only set the table for more tiresome time with Pacino.
    • 72 Metascore
    • 30 Sara Smith
    The show’s recycled vampire mythology fails to justify this level of bloodletting, which even fans of “The Walking Dead” might find gratuitous.