Caroline Framke

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For 442 reviews, this critic has graded:
  • 43% higher than the average critic
  • 5% same as the average critic
  • 52% lower than the average critic
On average, this critic grades 3.8 points lower than other critics. (0-100 point scale)

Caroline Framke's Scores

Average review score: 65
Highest review score: 100 Reservation Dogs: Season 2
Lowest review score: 10 The Proposal: Season 1
Score distribution:
  1. Negative: 20 out of 442
442 tv reviews
    • 46 Metascore
    • 40 Caroline Framke
    What’s especially frustrating about “Bumper in Berlin” is that there are enough solid elements at play here that might’ve made for a decent show. ... Instead, whether or not you’re already a fan of “Pitch Perfect,” “Bumper in Berlin” is mostly just confusing.
    • 66 Metascore
    • 50 Caroline Framke
    Despite Ortega’s fantastic performance and Burton’s active involvement, “Wednesday” as a whole never really captures what made “The Addams Family” so viscerally strange (nor is it half as visually striking). It does, however, get what makes a teen Netflix show tick. ... “Wednesday” uses the specter of its IP to lure people in and stand out among the rest. The former should prove easy enough — the latter, not so much.
    • 55 Metascore
    • 40 Caroline Framke
    It works so desperately hard to fill out six episodes — a full three hours of Clause #content! — that it just ends up dragging its feet. Scenes that should be a snappy couple of minutes go on for several too long; plots that can barely stand on their own do their best to hold up entire episodes to no avail. Trying to watch more than one episode, let alone six, feels less like having a warm mug of cocoa than chugging it and crashing off the sugar high.
    • 74 Metascore
    • 50 Caroline Framke
    For as much promise as “The English” has, and the consistently beautiful — if strangely pristine, given the brutality constantly at hand — Western landscapes bookending every scene, “frustrating” ends up the word most fitting to describe the series at large.
    • tbd Metascore
    • 80 Caroline Framke
    There may be only so many ways to serve up brunch, so a second season would have to find yet more innovative ideas to stretch the premise. Given how it handled these first eight episodes, though, “The Big Brunch” has earned its place at the next table.
    • 78 Metascore
    • 80 Caroline Framke
    It might have been interesting to see what “Mood” could’ve done given twice the time to tell Sasha’s story. Then again, being forced to do so with not just style, but efficiency, makes the breadth of its arc that much more impressive. ... Even when Sasha has trouble finding her voice, the series rarely does.
    • 45 Metascore
    • 30 Caroline Framke
    The final product’s attempts to find a halfway point between its obvious broadcast rhythms and new streaming home make clear the problems of trying to make the show fit on a platform that clearly doesn’t suit it — a clash that extends beyond how the show works (or doesn’t) on a granular comedic level, too.
    • 81 Metascore
    • 90 Caroline Framke
    Between the acting, Alex Bovaird’s costuming and White’s usual written standards — as seen on this series, “Enlightened” and beyond — each “White Lotus” character is immediately distinct from the next. Spending time with them is never boring, which is maybe why the season takes its time setting up the players, indulging White’s gift for dialogue to the point that the first few episodes (each a solid hour long) lose some of their urgency. ... “The White Lotus” remains one of TV’s most purely visceral, evocative shows as it digs each of its guests up by their roots.
    • 67 Metascore
    • 80 Caroline Framke
    “From Scratch” may not be as easy to watch as it first may seem. But if you’re also in the mood to indulge the breadth of those emotions anyway, this should provide exactly the weepy embrace you’ll need to get there.
    • 64 Metascore
    • 50 Caroline Framke
    The best sketches, then, are the ones that take an even slightly unexpected way to what seems like a straightforward punchline. ... If “Inside Amy Schumer” were returning to do more of that, it would be genuinely exciting; otherwise, it seems content to mostly go where it’s already gone before, give or take a fart park.
    • 82 Metascore
    • 90 Caroline Framke
    The show is also great. You don’t have to know who Tegan and Sara are to appreciate their story, which explores loneliness, connection and longing with such palpable empathy. ... DuVall establishes a directing style that takes each of their interior lives — and the young actors embodying them — seriously, capturing moments of pain, love, lust and anger that might otherwise go unnoticed.
    • 56 Metascore
    • 60 Caroline Framke
    Efficiently introduces a substantial cast. ... As their characters’ lives overlap and make room for each other to the tune of twanging country guitars, some decent pairs of chemistry emerge. But make no mistake: from its conception to its premise to all its most standout scenes, this show is Thieriot’s. ... It might’ve been harder — or at least more complicated — to dive deeper into the stories of the men who left prison alongside Bode, but if “Fire Country” could make even that slight gesture toward honoring the experiences fueling this show, it would be far better for it.
    • 81 Metascore
    • 80 Caroline Framke
    There’s a confidence to this “Interview With the Vampire” that makes it worth the while even when it’s straining itself to hit all the biggest Gothic notes.
    • 51 Metascore
    • 40 Caroline Framke
    The series’ framework depends on Joan and Todd learning to get along, but their constant bickering and dripping disdain makes their detentes less than persuasive. If “So Help Me Todd” can land on a consistent approach to its premise, it might settle into something more balanced. If not, though, it’ll remain more confusing than truly entertaining.
    • 46 Metascore
    • 30 Caroline Framke
    [The sixth episode “Silenced”] is an exception rather than the rule. Otherwise, Ryan Murphy and Ian Brennan’s new Netflix series is a grim, sepia-toned slog that rarely justifies its own existence.
    • 71 Metascore
    • 50 Caroline Framke
    In going out of its way to poke fun at “dramedies” without punchlines (“It’s both the funniest thing you’ve ever read and you won’t laugh once!”), “Reboot” sets itself up for needing to do better, but only occasionally does.
    • 74 Metascore
    • 80 Caroline Framke
    The show’s not in much of a hurry (the first three episodes dropping together really are of a piece), and that might lose it some shorter attention spans. Those who stick around, though, will be rewarded for their patience.
    • 59 Metascore
    • 50 Caroline Framke
    Ends up intriguing enough, if also unavoidably cheesy in its attempts to stand out amongst the fray.
    • 76 Metascore
    • 70 Caroline Framke
    Maybe the most interesting about “The Serpent Queen,” though, is the strange tension between its attempts to twist the historical drama with fourth-wall breaks and modern soundtrack and the fact that it is otherwise….well, an entirely typical historical drama. Which is fine!
    • 71 Metascore
    • 80 Caroline Framke
    The “wedding season” structure of the past and constant motion of the present (as directed by George Kane) generally makes for a smart combination for this series, even when the turns are more predictable than truly twisty. ... Even as Katie can be an undeniably frustrating character (usually on purpose, but not always), Salazar always makes her as compelling as Stefan finds her, keeping “Wedding Season” afloat whenever it threatens to sink under its own weight.
    • 55 Metascore
    • 30 Caroline Framke
    Beyond the preexisting demographic of those who mourned their post-election brunch plans, though, it’s hard to imagine who might gain much from this exercise besides the Clintons themselves.
    • 77 Metascore
    • 70 Caroline Framke
    Given enough time and patience, the vast web of the overlapping ideas in “Pantheon” might solidify into a deeply satisfying sci-fi story. Whether or not it will get the chance, or else snag the audience that might be particularly intrigued by it, is another story that only time (and the reach of AMC+) can tell.
    • 71 Metascore
    • 80 Caroline Framke
    For now, however, it’s safe to say that Amazon throwing the weight of its coffers at this property has resulted in a perfectly winning adaptation that unfolds swashbuckling adventures with clear reverence and affection for the considerable mythos behind it.
    • 49 Metascore
    • 40 Caroline Framke
    Ingrid’s frustration at being the office’s token Asian American woman when all she wants is to be thought of as a lawyer, period, gives the show some of its best and most insightful material. Getting to that point, though, means wading through the first few episodes, which have enough trouble moving beyond “hello, fellow kids” dialogue that some curious viewers might’ve already tapped out.
    • 81 Metascore
    • 80 Caroline Framke
    Mo’s devoted relationship to his family is immediately believable and clear, as is his breezy dynamic with best friend Nick (Tobe Nwigwe) and close bond with Maria (played with grounded charm by Ruiz).
    • 79 Metascore
    • 80 Caroline Framke
    It’s not hard to imagine a version of “Bad Sisters” that would double down on the sheer drama of the situation and look a lot like “Big Little Lies.” What keeps this version afloat and makes it more singular is its finely honed (and extremely Irish) sense of humor.
    • 46 Metascore
    • 50 Caroline Framke
    By design, the series makes it impossible to know which twin to believe at any given moment. By the (rather disappointing) end, neither “Echoes” nor Gina and Leni themselves seem to understand who’s even who anymore, anyway.
    • 67 Metascore
    • 60 Caroline Framke
    She-Hulk, Jennifer, and Maslany alike all deserved more of an updated version to play with, and the chance to push more timely boundaries, than Marvel ultimately affords them.
    • 76 Metascore
    • 70 Caroline Framke
    [This Fool works] hard to find strong dynamics between all members of the cast, a good and correct instinct for a fledgling comedy finding its way.
    • 66 Metascore
    • 80 Caroline Framke
    The season metes out its material with an economical approach (no episode runs over 54 minutes) and smart narrative structure. ... With enough forward-facing momentum and the might of Gaiman’s ever-complicating lore behind, Netflix’s “The Sandman” justifies its existence — and the potential for so much more story to come — time and time again.

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