For 307 reviews, this critic has graded:
  • 43% higher than the average critic
  • 4% same as the average critic
  • 53% lower than the average critic
On average, this critic grades 3.3 points lower than other critics. (0-100 point scale)

Willa Paskin's Scores

Average review score: 64
Highest review score: 100 Transparent: Season 3
Lowest review score: 0 Dads: Season 1
Score distribution:
  1. Negative: 33 out of 307
307 tv reviews
    • 64 Metascore
    • 50 Willa Paskin
    The banging-the-president plot may outdo "Grey's" and "Private Practice's" in sheer headline-grabbing, gonzo boldness, but it's still ill-advised. The chief executive needs to button up, and even Shonda Rhimes can't make a TV show escapist and over the top enough to obviate that--though, it sure should be interesting to watch her try.
    • 66 Metascore
    • 50 Willa Paskin
    Her persona combines Whitney Cummings’ bawdiness and Mindy Kaling’s entitlement with a self-proclaimed slutty streak (“I am sluttier than your average bear,” she proclaims), a familiar combination that feels original only in flashes. Schumer is sharper than her material.
    • 76 Metascore
    • 50 Willa Paskin
    The show is almost good, or at least exactly the sort of emotional drama networks should be trying to make these days. But it is so sure it is special, so convinced it has something to say that it sullies its basic achievements with self-satisfaction.
    • 74 Metascore
    • 50 Willa Paskin
    The results contain both fart jokes and erudition, but not so much heart. Family Tree is colder and flatter than Guest’s best work, missing its inspired kookery and high energy strangeness.
    • 70 Metascore
    • 50 Willa Paskin
    The results are scattershot. A few of the storylines work beautifully.... But Dorian Gray’s tryst with a tubercular prostitute (Billie Piper) reaches no such heights, delivering the nudity that pay cable customers apparently require, but not much else.
    • 44 Metascore
    • 50 Willa Paskin
    The first few episodes meander by, full of too-long dialogue and not enough action, while all the best moments are precise. ... Crisis gets better as it goes on, perhaps because a climax is not so different in film and television.
    • 48 Metascore
    • 50 Willa Paskin
    After two hours of Red Widow, I can tell it’s more watered down than it should be, but not if it’s watered down to the point of uselessness. If it can get at, to any extent, the way being a lawbreaking, badass, antiheroine might be fundamentally, complicatedly different from being a lawbreaking, badass, antihero I’ll keep watching.
    • 48 Metascore
    • 50 Willa Paskin
    If the show pulls back on the sour humans a bit and keeps it up with the cute animals, it might have something.
    • 49 Metascore
    • 50 Willa Paskin
    What 24: Legacy lacks in nail-biting excitement, it makes up for in head-spinning politics. For all the fears of a looming Muslim attack on American soil that 24: Legacy fans, its values are not entirely predictable.
    • 51 Metascore
    • 50 Willa Paskin
    NBC’s Rosemary’s Baby, which premieres Sunday night and finishes up on Thursday, is a not-great remake, but it is also a not-entirely-horrible miniseries, a beneficiary of the soft standards of low expectations.
    • 76 Metascore
    • 50 Willa Paskin
    It remains the most ambitious show on TV with nothing to say at all.
    • 54 Metascore
    • 50 Willa Paskin
    For all of Tyrant’s big themes, it can feel oddly small.
    • 74 Metascore
    • 50 Willa Paskin
    Underground’s provocative premise is shortchanged by a corny and anxious tendency to goose the narrative. It is hard to imagine a more inherently gripping premise than escaping slaves, but Underground tosses in pop music, lurid sex scenes, and a breakneck pace, undermining its own ambition.
    • 81 Metascore
    • 50 Willa Paskin
    It will scratch your period drama itch--and leave you itchy for action.
    • 85 Metascore
    • 50 Willa Paskin
    All of these characters and all of these stories frequently add up to something handsome, funny, and weird. But Fargo is missing the spark of originality that would make it great.
    • 62 Metascore
    • 50 Willa Paskin
    Through seven episodes there is nothing wildly different about the two shows, but Gracepoint has a facsimile’s faded quality. Something about it is less sharp, less bright, less keen, and you are left with a washed-out flier you have seen before.
    • 69 Metascore
    • 50 Willa Paskin
    The new episodes are such a good faith effort to continue Harmon’s legacy it’s a shame that they don’t really work at all.
    • 76 Metascore
    • 50 Willa Paskin
    The show is not just about the struggle between the good and the mediocre, it is itself a struggle between the good and the mediocre.
    • 74 Metascore
    • 50 Willa Paskin
    Westworld’s first episode is very strong, and its second nearly as good. It swiftly builds a world built on a deeply disturbing power dynamic that could make a decent metaphor for just about anything you choose. And then it backs away. ... Having achieved nuclear fusion, they abandon it for a backup generator, focusing on a needless mythology and quest narratives swiped from Lost’s discarded ideas board.
    • 42 Metascore
    • 50 Willa Paskin
    Star is the erratic follow-up to Daniels’ onetime monster hit Empire.
    • 69 Metascore
    • 50 Willa Paskin
    There is so much original programming out there that famous names, shiny plots, and a solid twist may be enough to keep a show from getting trampled, but they are not enough to keep it from getting lost in the fray--especially when a show, as with 11.22.63, is awkward and flat, never matching the promise of its premise.
    • 53 Metascore
    • 50 Willa Paskin
    The show was pleasant without being particularly funny or memorable, odd without being urgent or edgy, scattershot without taking any big swings.
    • 46 Metascore
    • 50 Willa Paskin
    As with many of these series, Honey Boo Boo wobbles along that strange line of being at once an exploitative mess, and not just an exploitative mess.
    • 43 Metascore
    • 50 Willa Paskin
    It did not come up with any great answers, but it was trying something new, something strange, something energetic, something involving Neil Patrick Harris dancing to Pitbull while playing bartender in a choreographed dance routine, pouring drinks for a child dressed up like Neil Patrick Harris.... The vibe of the show to come: feckless, pointless, sweet.
    • 43 Metascore
    • 50 Willa Paskin
    While it is completely watchable, it is also, unlike Scandal, not distinctive in any way.
    • 75 Metascore
    • 50 Willa Paskin
    All the care that Soderbergh has taken with the colors, the camera, the blood--all his masterfully deployed aesthetic choices--stand in stark contrast to the care taken with the scripts.
    • 43 Metascore
    • 50 Willa Paskin
    Quality-wise, Flaked slots right in the middle of the pack. It is not as original, lacerating, or self-aware as Louie and Girls, the progenitors of this trend, or as good as Transparent, the perfector of it, but it contains a deep and precise character sketch.... Flaked is irritating exactly to the extent that it takes Chip’s plight too seriously.
    • 60 Metascore
    • 50 Willa Paskin
    Parker’s performance in Divorce, especially in the early episodes, before she’s given a few spazzy speeches, is about as close to a dramatic one as is possible for appearing in a comedy. Her commitment to keeping everything tamped down unsettles a series in which everyone else is playing a game of outsized emotional charades.
    • 62 Metascore
    • 50 Willa Paskin
    Add all this up, and what results is not an elegant, adult, psychologically astute miniseries. Instead, The Slap is a bulldozer: bluntly, gracelessly effective.
    • 81 Metascore
    • 50 Willa Paskin
    Feud is not nearly campy enough.

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