Troy Patterson
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For 206 reviews, this critic has graded:
  • 33% higher than the average critic
  • 0% same as the average critic
  • 67% lower than the average critic
On average, this critic grades 12.1 points lower than other critics. (0-100 point scale)

Troy Patterson's Scores

Average review score: 53
Highest review score: 90 Crossfire Hurricane
Lowest review score: 0 The 1/2 Hour News Hour: Season 1
Score distribution:
  1. Positive: 69 out of 206
  2. Negative: 43 out of 206
206 tv reviews
    • 94 Metascore
    • 90 Troy Patterson
    At the outset, this show aimed for hilarity and hit the mark, consistently and cathartically, while also trafficking in provocative sidewalk philosophy, achieving moral seriousness amid masturbation jokes.
    • 89 Metascore
    • 80 Troy Patterson
    Doors are opening. Mind the gap.
    • 88 Metascore
    • 80 Troy Patterson
    The tempo, thus far, is notably deliberate; the show's got mortality on its mind.
    • 87 Metascore
    • 70 Troy Patterson
    Like Peter Jackson’s Heavenly Creatures, the paranoid screenplays of Andrew Niccol, and the absurdist horror of Black Sheep (an ovine analog of The Birds), it gets beneath the skin by examining the state of isolation at the bottom of the world.
    • 87 Metascore
    • 90 Troy Patterson
    It smoothly toggles between working as a crime melodrama and a coming-of-age tale, as a harrowing piece of social commentary and a gentle bit of farce.
    • 86 Metascore
    • 80 Troy Patterson
    Over three nights and five and half hours, Prohibition provides a very fine analytic survey of the noble experiment, and most criticisms of it are quibbles.
    • 86 Metascore
    • 80 Troy Patterson
    The pacing of the show's jokes, which heralds a welcome respect for the quickness of the audience, helps all the humor pop. Of course, good-old dumb physical juxtapositions don't hurt, either.
    • 86 Metascore
    • 90 Troy Patterson
    It's a breath of fresh air even for those of us who find our allergies stimulated by the countless particles of whimsy suspended in its thick atmosphere.
    • 85 Metascore
    • 80 Troy Patterson
    Nashville feels fresh because it catches a different tone. The few ironic winks it makes do not disfigure its straight face for quality pulp, nor does the sincerity harden into hokum.
    • 85 Metascore
    • 80 Troy Patterson
    Appropriate to the pace and the space of series television, it welcomes you into its intrigues at a walking pace.
    • 84 Metascore
    • 80 Troy Patterson
    In the suspenseful early hours of The Killing, Rosie's family goes about its bereavement in muted tones, and a subplot about a mayoral candidate drawn into the crime's eccentric orbit flashes with potential, and, primarily, our expectations for cop shows are teased, gratified, and artfully upended.
    • 84 Metascore
    • 70 Troy Patterson
    Even the most ardent fans of 30 Rock will concede that it doesn't look its sharpest as its third season opens. Only the most churlish will be much put out by this, though. A relatively flat episode of Tina Fey's backstage farce is still the fizziest thing in prime-time comedy.
    • 81 Metascore
    • 80 Troy Patterson
    The writing is as crisp as Brooks' perfect raincoat, and the partners share a father-son chemistry unseen elsewhere in the franchise, and anyone exhibiting the faintest traces of Anglophilia will delight to see the crown prosecutor and the defense counsel talking trash in the changing room while donning and doffing their barristers' wigs.
    • 81 Metascore
    • 70 Troy Patterson
    Perhaps it's best to consider The Hour as a kind of retro Broadcast News that is most alive when Freddie and Bel banter like Beatrice and Benedick and especially when getting inside of Hector's talking head.
    • 77 Metascore
    • 80 Troy Patterson
    Now comes Grey Gardens, largely enjoyable in spite of being almost entirely superfluous.
    • 79 Metascore
    • 70 Troy Patterson
    It's an ambitious if occasionally pushy effort.
    • 78 Metascore
    • 80 Troy Patterson
    Boss is electric with self-importance, and that is in itself is a hoot, given its particular combination of thematic pomp and expressionistic pulp.
    • 78 Metascore
    • 70 Troy Patterson
    Ben Franklin (Tom Wilkinson ) enlivens the painterly prettiness and dutiful solemnity of John Adams with a healthy sense of the vulgar, as in the vernacular, as in the native voice of America.
    • 78 Metascore
    • 90 Troy Patterson
    The most engrossing new drama of the fall season.
    • 78 Metascore
    • 80 Troy Patterson
    At its best, Glee is not just entertaining but elating, dramatizing Breakfast Club-quality teen angst with the aid of tight production numbers covering new and classic popular songs.
    • 77 Metascore
    • 70 Troy Patterson
    Some us also go in for TV shows that have the potential to ripen into astringent Billy Wilder-style examinations of what lust can do to the white-collar soul.
    • 77 Metascore
    • 90 Troy Patterson
    Using new audio-only interviews with the Stones as invisible tape, [director Brett Morgen] splices 50 years of footage into a 110-minute education, remixing the work of earlier filmmakers with splendid editing and a critical eye.
    • 77 Metascore
    • 70 Troy Patterson
    Because the show is sidling up to its premise very gently, it looks more like a sweet-natured high-school comedy than the risky riff on tolerance it teases us with.
    • 76 Metascore
    • 80 Troy Patterson
    Too jaded to lament the backroom maneuvering of politicians, the creators of House of Cards instead take that state of affairs as a given, tart it up, and fashion a wry piece of escapism--a backstabbing procedural delivered in a sophisticated style.
    • 76 Metascore
    • 80 Troy Patterson
    When Boardwalk Empire is dealing with the consequences of the 18th Amendment, it plays like a sound and steady drama. When addressing the energy around the 19th, it begins to jazz things up.
    • 76 Metascore
    • 80 Troy Patterson
    Falco has the strength to sell the overwrought cliches and to force each important moment to its crisis.
    • 75 Metascore
    • 80 Troy Patterson
    Costello, unlike public television, asks viewers like you for nothing but your attention, which he rewards with intimate assessments of songcraft and the underappreciated architects of modern pop.
    • 74 Metascore
    • 70 Troy Patterson
    A black comedy working many shades of gray, Enlightened is about dark mornings of the soul and the fool's-golden glow of the new convert, and it measures the weight of the world with an eccentric scale.
    • 72 Metascore
    • 70 Troy Patterson
    Like "Alias" or "The X-Files," Jericho has enough wheel-within-wheels, double agents, and ad hoc alliances to draw in viewers who love a long-playing puzzle.
    • 74 Metascore
    • 80 Troy Patterson
    Their new show has both the nerve to link up twentysomething malaise and 21st-century terror-angst and the good nature to make the proposition look endearing.

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