Sonia Saraiya

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For 209 reviews, this critic has graded:
  • 51% higher than the average critic
  • 5% same as the average critic
  • 44% lower than the average critic
On average, this critic grades 1.2 points lower than other critics. (0-100 point scale)

Sonia Saraiya's Scores

Average review score: 66
Highest review score: 100 Masters of Sex: Season 2
Lowest review score: 0 I Wanna Marry Harry: Season 1
Score distribution:
  1. Negative: 15 out of 209
209 tv reviews
    • 52 Metascore
    • 40 Sonia Saraiya
    When Startup manages to leave its sex scenes behind and gets to creating storytelling around largely unexplored territory in the cinematic universe, it is its smartest and most compelling. ... Unfortunately, those moments of interest are sporadic. Startup otherwise meanders forward with all the grace of a sex-starved teenage boy, skidding from the exotic to the illicit.
    • 63 Metascore
    • 40 Sonia Saraiya
    In the choice between making a good adaptation or a good film, L.M. Montgomery’s Anne of Green Gables chooses... neither, content with being a dull film and a mediocre adaptation. It’s not poorly done as much as it’s just off, with an interpretation of the story that feels like a blurred copy of the original.
    • 36 Metascore
    • 40 Sonia Saraiya
    As far as comfortable, mediocre family sitcoms go, Man with a Plan appears to be finding a nice groove, establishing a patter between easy stereotypes and incrementally encouraging Adam to grow.
    • 61 Metascore
    • 40 Sonia Saraiya
    Madoff is a miss, quite unable to measure up either on the outrage/explanation quotient (“The Big Short,” “Too Big to Fail”) or the reveling in billions quotient (“Billions,” naturally, as well as “Wolf of Wall Street”). As a piece of history, the miniseries is hard to follow and a bit too sordid; as a piece of fiction, Madoff feels rushed-off and incomplete.
    • 57 Metascore
    • 40 Sonia Saraiya
    Allegiance does not demonstrate any of that careful planning; indeed, it is almost exactly the same thing as “The Americans,” except executed less well, with the complexities sanded off.
    • 37 Metascore
    • 40 Sonia Saraiya
    The new sitcom isn’t bad, it’s just bland; low-impact, lightweight, and nothing to write (or tweet) home about. It’s too bad for Epps, who does his best with a limited role.
    • 55 Metascore
    • 40 Sonia Saraiya
    It’s not freaky, or scary, or erotic, or even particularly weird. It’s just a kind of boring musical with a particularly nonsensical plot. The highlight is Laverne Cox, who plays Frank-N-Furter, the role made deliciously creepy by Tim Curry. Cox is the strongest performer in the production, and she has much of the necessary screen presence and vocal timbre to stand out in the middle of the mediocre spectacle.
    • 59 Metascore
    • 40 Sonia Saraiya
    Mars is a smart idea, and an educational one, too. But the factually dense production is not always able to accelerate from information to narrative.
    • 66 Metascore
    • 40 Sonia Saraiya
    Intriguing but unsatisfying.... The sketches aren’t thought out well enough; the lead, Jay Baruchel, lacks presence on-screen; and the drama lacks stakes. But above all, what struck me is that it’s a story that we’ve seen a thousand times.
    • tbd Metascore
    • 40 Sonia Saraiya
    If Freakish had committed to far fewer characters, it might have perhaps been able to make sense of the leftover plotlines. As it is, the half-hour is overstuffed with characters it can’t carry--each with secretive subplots that the actors also cannot carry.
    • 58 Metascore
    • 40 Sonia Saraiya
    Their characters still do not feel particularly novel or real or interesting--or funny, sadly, which wastes both Fonda’s talent for physical comedy and Tomlin’s deadpan wit--but their friendship does eventually become real, which is something.
    • 59 Metascore
    • 40 Sonia Saraiya
    The Catch, unfortunately, reads as an attempt to combine many of the elements of the previous shows into something new and fun without infusing enough originality into it.
    • 71 Metascore
    • 40 Sonia Saraiya
    Not only does the music get lost in the mix, but despite Cannavale’s excellent performance as Richie, there’s almost nothing to invest in with that character, whom we’re introduced to at literally the least interesting point in his life.
    • 40 Metascore
    • 40 Sonia Saraiya
    Weatherly, who spent 13 seasons with “NCIS,” is an able charismatic lead--snarky and smart-alecky in a way that suggests both unnecessary toughness and vulnerability underneath it. ... But the show itself is totally ridiculous, in concept and execution.
    • 73 Metascore
    • 33 Sonia Saraiya
    Ray Donovan is in the remarkable position of being a show that appears to be built entirely of moments that are gratuitous, provocative, and emptily thrilling.
    • 60 Metascore
    • 30 Sonia Saraiya
    Sex&Drugs&Rock&Roll merely has the dramatic backdrop of loud guitars and middling lyrics. The show is so abrasive I had to stop watching partway through the second episode; even though I individually appreciate Corbett, Leary, Gillies, and rock music, the combination in the show offered nothing for me.
    • 40 Metascore
    • 30 Sonia Saraiya
    As a production of television, The Passion’s main problem is that it didn’t quite know what it wanted to be--Christian “Glee,” Jesus-y “Romeo + Juliet,” or Tyler Perry’s megachurch concert extravaganza.... The real problem with The Passion: It was trying to engage a mainstream audience through pandering.
    • 56 Metascore
    • 30 Sonia Saraiya
    It feels often as if the show cannot contain the anger and resentment it is trying to tap into, and instead of doing the work of converting it into comedy, it has just unleashed unpleasantness into the ether.
    • 33 Metascore
    • 30 Sonia Saraiya
    In an unwieldy episode that otherwise felt strained, the elimination scenes where the women faced the judges were unusually compelling, mostly because of how excruciating they were.
    • 39 Metascore
    • 30 Sonia Saraiya
    It’s haphazardness that most radiates from the sitcom. Imaginary Mary feels a little hasty and half-baked, with a few ideas that point to interesting concepts without the full force of consideration behind any of them.
    • 51 Metascore
    • 30 Sonia Saraiya
    The sitcom could have a little bit of melancholic sweetness to it, but The Great Indoors instead takes it upon itself to issue value judgments on an entire generation of people, and the result is perplexing and off-putting. It makes for a rather uncomfortable half-hour, where the audience is asked to identify with an undermining, insulting protagonist.
    • 59 Metascore
    • 30 Sonia Saraiya
    Aside from Stroma, who is a charming fellow even in the worst circumstances, there is nothing to recommend in Time After Time, which feels neither adequately steeped in time travel or the lore of H.G. Wells to really deliver what its premise suggests.
    • 39 Metascore
    • 30 Sonia Saraiya
    A sappy, passionless, schlocky remake of the original, without even the iota of imagination necessary to expand upon the 1987 film. Nearly every element of the film that caught worldwide audiences’ imaginations has been sanded down into an advertisement-ready imagining of the swinging ‘60s.
    • 32 Metascore
    • 30 Sonia Saraiya
    A nearly wall-to-wall mess. ... Every convoluted plot twist of the pilot feels like an unnecessary embellishment on top of an already nonsensical premise--because the show also fails to explain why this producer and this lawyer being friends with each other is unusual or interesting.
    • 40 Metascore
    • 25 Sonia Saraiya
    It sits at the intersection of just enough sincerity and just enough script, which made shows like Laguna Beach famous. But clearly, the show hasn’t done enough to hide its PR tracks.
    • 29 Metascore
    • 20 Sonia Saraiya
    There is, undoubtedly, some camp appeal there, especially in Campbell’s performance as the histrionic Patsy. But the production is so limited, even on the level of pure spectacle, that it is difficult to see anything beyond its almost gleeful exploitation.
    • 52 Metascore
    • 10 Sonia Saraiya
    It’s screechingly awful.
    • 38 Metascore
    • 10 Sonia Saraiya
    One of the more aggressively terrible debuts of the fall.
    • 23 Metascore
    • 0 Sonia Saraiya
    Instead of just creating the horror show that is 12 women competing for a man, it chooses also to play them for fools.

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