For 145 reviews, this critic has graded:
  • 58% higher than the average critic
  • 7% same as the average critic
  • 35% lower than the average critic
On average, this critic grades 2.3 points higher than other critics. (0-100 point scale)

Tom Long's Scores

Average review score: 69
Highest review score: 100 The Returned: Season 1
Lowest review score: 20 George Lopez: Season 1
Score distribution:
  1. Negative: 11 out of 145
145 tv reviews
    • 92 Metascore
    • 100 Tom Long
    This show--which mixes hints of “Lost,” “Twin Peaks” and “The X-Files”--is one of the best things to hit our airwaves this season.
    • 92 Metascore
    • 100 Tom Long
    [It] sounds pretty dark, and it is, but the wonder of both Atwood’s novel and the series is that it actually manages to be playful and witty at times.
    • 84 Metascore
    • 100 Tom Long
    Raylan, despite his tendency to shoot people, is something of an old-fashioned hero, complete with white cowboy hat. Here’s to the simple but effective balance, and to the complications that threaten to topple it.
    • 82 Metascore
    • 100 Tom Long
    It’s all very complicated, but at the same time easy to follow and terribly mesmerizing and haunting.
    • 91 Metascore
    • 100 Tom Long
    Massive, cruelly dense, absurdly complicated and absolutely thrilling.
    • 91 Metascore
    • 100 Tom Long
    Thrones exults in the unexpected.
    • 89 Metascore
    • 100 Tom Long
    Near flawless in execution while filled with rarely seen intelligence and complexity, the HBO miniseries Olive Kitteridge plumbs the depths of the seemingly mundane and finds cruelty, resentment, dogged insecurity and finally, if not hope, then some level of honesty about life’s attraction.
    • 68 Metascore
    • 100 Tom Long
    Lush, often surreal, filled with contradictory characters and backstabbing intrigue, The Young Pope is one of the more remarkable television shows in memory.
    • 78 Metascore
    • 100 Tom Long
    There are some fine supporting performances here--most notably from Bradley Whitford as a loyal-if-appalled Hubert Humphrey, Melissa Leo as the beleaguered Ladybird Johnson and Stephen Root as J. Edgar Hoover. But, beginning to end, this is a tour de force for Cranston. Great stuff.
    • 82 Metascore
    • 100 Tom Long
    Relentlessly silly from beginning to end, if this show doesn't make you laugh out loud, or at least shake your head in constant bemusement, you're a member of the wrong species. [8 Nov 2001, p.5C]
    • The Detroit News
    • 81 Metascore
    • 91 Tom Long
    Feud: Bette and Joan is delicious fare, a mix of catty gossip and vile manipulation, a look at the dark underbelly of celebrity culture and the desperation that comes with aging out of the limelight.
    • 81 Metascore
    • 91 Tom Long
    Mr. Robot remains one of the most dizzying, intoxicating, challenging shows on television, a gripping look at mental illness and brilliance run amok, tied to an essentially sweet, if damaged, character. It’s a show that poses Big Questions and dares to leave them hanging.
    • 84 Metascore
    • 91 Tom Long
    Girls continues to delight and provoke in a way too few shows can.
    • 65 Metascore
    • 83 Tom Long
    For now, though, The Leftovers is properly mesmerizing.
    • 67 Metascore
    • 83 Tom Long
    There are a lot of characters and talent involved here--Mary Elizabeth Winstead notably plays the bride who was left behind--but The Returned is very much a show propelled forward by its story and the questions it raises.
    • 90 Metascore
    • 83 Tom Long
    There are slight miscues--Kimara’s attempts to become pregnant seem a distraction--but this very busy boat stays upright and moves forward, shifting just enough to stay interesting.
    • 73 Metascore
    • 83 Tom Long
    The disconnect between propriety and reality keeps the miniseries on constant edge. The entire cast is fine, but Hall steals the show.
    • 67 Metascore
    • 83 Tom Long
    The gore level is playful, not scary, and the idea that true love conquers all, even a craving for human flesh, permeates the show. Sheila, Joel and Abby can still live the American dream, it will just taste a bit odd.
    • 72 Metascore
    • 83 Tom Long
    Like the tremendously successful “American Crime Story: The People v O.J. Simpson,” HBO’s new film, the ultra-sharp Confirmation, is a look back at the muddled ’90s, when racism and sexism were shockingly overt, and one could be used to undercut or confuse the other on the public stage.
    • 85 Metascore
    • 83 Tom Long
    Simultaneously heartwarming and heartbreaking.
    • 86 Metascore
    • 83 Tom Long
    There’s a lot of humor here, but it’s more innocent than leering. And there’s also a great deal of understandable awkwardness that seems as pertinent to 2013 to the ’50s. You may not want to watch this with Aunt Tildy, but it is certainly worth watching.
    • 65 Metascore
    • 83 Tom Long
    As gritty, dysfunctional family, crime-fueled dramas go, Animal Kingdom roars with dark promise.
    • 96 Metascore
    • 83 Tom Long
    As always, this is a scattered story with multiple moving parts.... Fargo revels in presenting ordinary folk with extraordinary problems, in stripping away their everyday guises and peering long and hard at their dark potential. That it can do this through adaptations of true stories makes it all the more jaw-dropping.
    • 82 Metascore
    • 83 Tom Long
    It is, to say the least, audacious. More importantly it’s interesting. It’s about the interior as much as the exterior. That’s weird. That’s good.
    • 55 Metascore
    • 83 Tom Long
    As harrowing, dark and bloody as the premiere episodes are, and as open as the show’s direction seems to be, the comparisons [to Game of Thrones,” “Sons,” “Deadwood,” “Breaking Bad,” “The Sopranos,” and “The Walking Dead”] seem apt. This Bastard rocks.
    • 79 Metascore
    • 83 Tom Long
    Yes, there are a few stereotypes--a guard nicknamed Pornstache is exactly the sleazeball you expect in a women’s prison series. But, for the most part, the show strikes a fresh tone, allowing for real tenderness, social commentary and lots of anxiety in a classic fish-out-of-water scenario.
    • 85 Metascore
    • 83 Tom Long
    The tone wavers here and there--a pair of teen brothers are too broadly drawn--but holds true for the most part.
    • 84 Metascore
    • 83 Tom Long
    Yes, Issa, Molly and Lawrence are all a bit insecure; heck, the world itself is insecure. But this show is strong in the face of it all.
    • tbd Metascore
    • 83 Tom Long
    Essentially, Shameless is still Shameless: A raucous, shocking, moral battleground, a family comedy taken to twisted extremes, boosted by a uniformly fine cast, and consistently entertaining.
    • 70 Metascore
    • 83 Tom Long
    No matter what, the show returns with the same sense of modern-day paranoia and urgency that fueled its best seasons, and however over-the-top it goes, its real-world geopolitical concerns are real-world geopolitical concerns.
    • 78 Metascore
    • 83 Tom Long
    The show's two opening episodes, showing Sunday and Monday night, are really a small movie cut in half--Sunday is the somewhat puzzling set-up, Monday puts Jimmy in motion and opens his eyes.
    • 90 Metascore
    • 83 Tom Long
    Turturro bites into the role with bitter humor and wounded idealism. Still, it’s Ahmed, at times resembling a young Andy Garcia, who is at the heart of this series, with his innocence being stripped away as the slow wheels of justice threaten to grind his soul. It’s powerful, and timely, stuff.
    • 83 Metascore
    • 83 Tom Long
    Moms Mabley is a fine appreciation of a remarkable life.
    • 70 Metascore
    • 83 Tom Long
    The show isn't perfect--the female characters are weak, Graham can get a bit wild-eyed and the killings get progressively more bizarre. But creator Bryan Fuller has a good grip on the material and Mikkelsen sets a tone that's both chilling and intriguing.
    • 78 Metascore
    • 83 Tom Long
    Just as “Parks and Rec” was built around a strong female character (Amy Poehler), so is The Good Place and Bell brings her daffy range of sensibilities to the show. She somehow manages to run through sassy, clueless, innocent, rude, earnest, spunky, well-intentioned and selfish modes in every episode.
    • 80 Metascore
    • 80 Tom Long
    The first four episodes contain more solid laughs than most sitcoms manage in a year. [13 Oct 2000]
    • The Detroit News
    • 81 Metascore
    • 75 Tom Long
    A Series of Unfortunate Events makes it downright difficult to “Look Away.”
    • 66 Metascore
    • 75 Tom Long
    It’s not going anywhere you’d likely suspect, and the big reveal episodes have a lot of explaining to do, but this hyper-paranoid, time-twisting and addictive show is actually laying a foundation for something. How that something eventually plays out remains a question, but the ride there is an undeniable kick.
    • 74 Metascore
    • 75 Tom Long
    The question of whether artificial intelligence can gain consciousness is obviously timely. The question of whether Wood and company can make Westworld as emotionally viable as it is fascinating to watch remains to be seen. Still, try looking away.
    • 72 Metascore
    • 75 Tom Long
    She’s absolutely as funny as she was two years ago, which was pretty darn funny. But the humor--most of it revolving around sex, body issues and relationships--feels dated.
    • 78 Metascore
    • 75 Tom Long
    Braugher is the rare actor who banks on control instead of pyrotechnics. And Ruben Blades gives him strong support as the hospital's administrator, Dr. Max Cabranes. [10 Oct 2000]
    • The Detroit News
    • 70 Metascore
    • 75 Tom Long
    Not strange enough to be scary, but probably strange enough to be fun. [17 Sept 2002]
    • The Detroit News
    • 63 Metascore
    • 75 Tom Long
    At first, it seems like your typical show from the CW, overstuffed with bushy-haired teens in a sci-fi situation. But after a while the series, based on a book by Kass Morgan, reveals influences ranging from “Lord of the Flies” to “Battlestar Galactica,” with more than a few hints of “The Hunger Games,” “Lost” and “1984” tossed in.
    • 70 Metascore
    • 75 Tom Long
    The show is mostly a slow-burn look at Kyle as he tries to make sense of all the damage that seems to follow--and grow--around him. He may yet turn to prayer.
    • 75 Metascore
    • 75 Tom Long
    Raimi shows he hasn’t lost his horror chops in directing the first episode, particularly with a spinning flashlight tension-builder. And the bloody roots of “Evil Dead” are fully honored as well.
    • 50 Metascore
    • 75 Tom Long
    By the end of the first episode you have little idea what’s going on; by the end of the fourth show the series is starting to gel a bit, but questions have been piled upon questions and soooo many characters have been introduced you need a scorecard.
    • 74 Metascore
    • 75 Tom Long
    Harlots, on Hulu, is certainly audacious. And ambitious. But whether it will be able to pull off it’s fine-line feminist balancing act remains to be seen; this show may end up groundbreaking or it may end up a train wreck. In the meantime it’s hard to look away.
    • 60 Metascore
    • 75 Tom Long
    [A] promising mix of urban decay, moral corruption and brutal betrayal that’s likely to fuel Sun.
    • 56 Metascore
    • 75 Tom Long
    The level of profanity here would likely give any real life vice principal a heart attack, and Gamby’s stupidity is world class. Eventually you realize he’s just a lonely, sad jerk in need of validation. Comedy, you’ll recall, is just tragedy upside down.
    • 65 Metascore
    • 75 Tom Long
    Is GGR the best show on television? No, but it’s pretty solid.
    • 80 Metascore
    • 75 Tom Long
    As the season progresses, Mapleton re-emerges and it becomes a tale of two deeply weird cities. It may all be a tease, but give The Leftovers this: It is the strangest show on television.
    • 66 Metascore
    • 75 Tom Long
    What The Newsroom lacks in vampires, serial killers and terrorist love affairs, it makes up for with topicality, intelligence and messy romances.
    • 74 Metascore
    • 75 Tom Long
    Occasionally gory and suffused with black humor, there’s still a sunny sincerity to the show. Simply put, iZombie is death done cute.
    • 50 Metascore
    • 75 Tom Long
    Although this is certainly the most narcissistic talk show in memory, it depends wholly on whether you enjoy Chelsea or not.
    • 71 Metascore
    • 75 Tom Long
    Showtime’s favorite psychopath is watching his life unravel. Again. Which is tough for Dexter but probably good for the audience.... Last year, the ship was righted as Deb disintegrated and Dexter found true love. Will this season bring justice, cheap thrills or a violent conclusion? Hopefully, all of the above.
    • 60 Metascore
    • 75 Tom Long
    Watching Shooter as a series is like falling back into a well-known and familiar story, just one with lots of guns. It’s downright comfortable. And that’s odd.
    • 67 Metascore
    • 75 Tom Long
    It’s a rich mix of intrigues with the occasional bout of brutal violence as Delaney tries to build his own empire and assumedly reclaim his one true illicit love.
    • tbd Metascore
    • 75 Tom Long
    What The Lost Tapes adds, beyond all the terrifying footage, is a plethora of perspectives and insights.
    • 69 Metascore
    • 75 Tom Long
    Halt is wise enough to play this out against Gordon’s stress over providing for his family, Joe’s mysterious background and Cameron’s cute pixie haircut. The ad men in “Mad Men” changed a great deal; the people who put a computer in every home changed everything. And that keeps Halt and Catch Fire interesting.
    • 59 Metascore
    • 75 Tom Long
    Whether viewers will feel too challenged by Ellie to smile along remains to be seen. Hopefully they won't; TV needs crazy-vain-brave risk-takers badly. [26 Feb 2002]
    • The Detroit News
    • 77 Metascore
    • 75 Tom Long
    It’s hard to say where The Bridge is going, but so far it looks like a trip worth taking.
    • 72 Metascore
    • 75 Tom Long
    There are knocks in Seduced and Abandoned, but none of them seem that hard.
    • 82 Metascore
    • 75 Tom Long
    The Middle East lends itself to intrigues, backstabbings, frontstabbings and long-term vendettas like few other places, and writer-director Hugo Blick lets his puzzle pieces assemble with slow, deliberate power and more than a few surprises.
    • 60 Metascore
    • 75 Tom Long
    Handled correctly, this has “Lost” potential.
    • 66 Metascore
    • 75 Tom Long
    The slow burn approach actually works nicely, assuming you can calm your appetite for immediate destruction.
    • 74 Metascore
    • 75 Tom Long
    Family Tree is addictively silly stuff.
    • 58 Metascore
    • 75 Tom Long
    Alliances are made and broken, power shifts go this way and that, blood is spilled, and wenches keep wenching. It’s oddly addictive, and the cast--made up mostly of British, Australian and Canadian actors--is as sharp as you’d expect from pay cable.
    • 75 Metascore
    • 75 Tom Long
    The potential for cop burnout exists with all the new crime shows this season, but "Trace" is among the most promising entries. [26 Sep 2002]
    • The Detroit News
    • 87 Metascore
    • 75 Tom Long
    Relentlessly dark and slow boiling, True Detective may promise more than it can deliver. But it still delivers quite a bit.
    • 75 Metascore
    • 75 Tom Long
    The Walking Dead may be starting to walk in circles, but the scenery is still spectacular and spooky.
    • 52 Metascore
    • 75 Tom Long
    This is a solid, risky show with loads of potential. Keep it coming.
    • 60 Metascore
    • 75 Tom Long
    Mamet is known for tight, pointed dramas, and he holds true to his rep here, creating a mystery, procedural and character study all in one.
    • 75 Metascore
    • 75 Tom Long
    A period piece with serious punch, The Knick isn’t for the faint of heart.
    • 62 Metascore
    • 75 Tom Long
    The production values are high, the acting efficient, the story teems with twists and turns.
    • 76 Metascore
    • 75 Tom Long
    There are few serious undertones, but lots of lively excitement, despite all the lingering questions, which will assumedly be answered. Have faith.
    • 89 Metascore
    • 75 Tom Long
    Although the first episodes of the new season lack the snap and sizzle of the first season’s sexual discoveries, the air of indecision that haunts the show feels both accurate and unique.
    • 50 Metascore
    • 75 Tom Long
    Like "The Simpsons," "Married with Children," "Malcolm in the Middle" and other Fox sitcoms, the ridiculous reach is what makes "The Mick" work.
    • 75 Metascore
    • 75 Tom Long
    Simply put, Smallville is super. A new spin on the modern myth of Superman, it's part action series, part teen romance and part high school drama, done with superior production values and featuring an array of new faces that could quickly become familiar. [16 Oct 2001]
    • The Detroit News
    • 48 Metascore
    • 75 Tom Long
    This is a disaster movie writ large for TV and the simple fact is, it works despite some none-too-subtle turns. You can’t help being enthralled by a story you wouldn’t want to be a part of.
    • 51 Metascore
    • 75 Tom Long
    As summertime smarmy yarns go, American Gothic holds promise.
    • 61 Metascore
    • 75 Tom Long
    Turn becomes more tense with each episode, at least through the first three, and that’s a very good sign.
    • 85 Metascore
    • 75 Tom Long
    The eight-part miniseries, a BBC co-production that begins Saturday on Starz, is handicapped a bit by its overly hotheaded protagonist, played by James Nesbitt. But if his access as a grieving father to crime scenes and witnesses often seems a bit preposterous, the story's many side alleys and turnabouts serve as ample distraction.
    • 59 Metascore
    • 75 Tom Long
    Instead of being seriously macabre, it goes for broad satire, although it certainly has its gory moments. It’s an odd mash-up that leaves little room for real connection to the characters, having faith instead in laughs and blood. Then again, laughs and blood have a good track record.
    • 64 Metascore
    • 75 Tom Long
    It’s all very silly, but there’s bite beneath some of the yuks.
    • 67 Metascore
    • 75 Tom Long
    A sprawling look at the gay liberation movement in the U.S. during the past five decades, spread over eight hours, featuring an abundance of talent, occasionally too earnest, at times heartbreaking, and pretty much always eminently watchable.
    • 72 Metascore
    • 75 Tom Long
    The series looks promising, if puzzling.
    • 77 Metascore
    • 75 Tom Long
    At first you’re rolling your eyes at what seems an absurd stretch of a premise, but soon enough you’re buying its always-on-edge predicaments and after a few episodes you’re hooked into its story-upon-story acrobatics. Pete may be sneaky, but he’s not dull.
    • 85 Metascore
    • 75 Tom Long
    Morally and historically significant, emotionally wrenching and politically terrifying, The Normal Heart is more important than artful, and that’s just fine.
    • 68 Metascore
    • 75 Tom Long
    It’s all a bit fuzzy, but then it’s all in good fun. Television has plenty of room for strong female characters.
    • 75 Metascore
    • 75 Tom Long
    It could all be so cheesy, but somehow it’s not. Credit DuVernay for giving us a sense of Louisiana--and black--life that rises above mere plot manipulations. You believe these people; you care for them. And that’s sweet enough.
    • 69 Metascore
    • 75 Tom Long
    While it's certainly not the most innovative new show this season, it knows exactly what it wants to be, which isn't a full-on copy of "CSI" but close enough to seem familiar. And it delivers the same slick, well-produced, well-acted sort of analytical whodunit as the original. [23 Sep 2002]
    • The Detroit News
    • 75 Metascore
    • 67 Tom Long
    There’s just enough crazy in Ray Donovan to keep things interesting.
    • 51 Metascore
    • 67 Tom Long
    The pilot is a bit clunky setting all this up (there’s also Jack’s local bartender and friend, Eddie, played by Chris Williams), but the actors are all pretty sharp, as are the cross-generational jokes.
    • 46 Metascore
    • 67 Tom Long
    You get the feeling creator Rockne S. O'Bannon is building a puzzle box to nowhere here, but Knepper's malevolent glare sets a nice, unhinged tone, and there's certainly plenty of room to move forward.
    • 73 Metascore
    • 67 Tom Long
    This show fits perfectly into the network's mystery/cop-heavy schedule and audiences should be able to blur right through it comfortably. As comfortable blurs go, Battle Creek is indeed a success.
    • 47 Metascore
    • 67 Tom Long
    It all looks good, but Arjona never gains real traction as Dorothy and some of the side stories become distractions. Still, Emerald City is an ambitious, if derivative, project for broadcast television.
    • 62 Metascore
    • 67 Tom Long
    Kinnear, as always, is a likable presence, and he and Summers seem like they’ll have good chemistry if the show ever calms down.
    • 72 Metascore
    • 67 Tom Long
    At times the somewhat corny diversions distract from the slow-moving main attraction. Still, true-believer horror fans will likely bite into The Strain, even if nonconverts find themselves able to resist.
    • 57 Metascore
    • 67 Tom Long
    The pitch here can be shrill. The warden makes Satan look like a nice guy, and Gil has a temper that can be wearying. But the essential tension--who will finally tell the truth? everybody is lying to somebody--makes for compelling, if exhausting, drama.
    • 60 Metascore
    • 67 Tom Long
    The Last Ship would be better off developing its own new society tensions, medical nightmares and primal-survival adventures than leaning on black-hat stereotypes. Maybe it will end up heading in that direction, maybe it will succumb to more common cliches and become lost at sea. It could float either way.

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