For 102 reviews, this critic has graded:
  • 62% higher than the average critic
  • 6% same as the average critic
  • 32% lower than the average critic
On average, this critic grades 2.5 points higher than other critics. (0-100 point scale)

Erik Adams' Scores

Average review score: 69
Highest review score: 100 W/ Bob & David: Season 1
Lowest review score: 25 Man With a Plan: Season 1
Score distribution:
  1. Positive: 69 out of 102
  2. Negative: 3 out of 102
102 tv reviews
    • 81 Metascore
    • 100 Erik Adams
    Toy Story That Time Forgot attests to the strengths of this fictional universe by relying on its deep bench of supporting players.... Schaal’s capacity for wonder enlivens a plot that harkens back to the first Toy Story.
    • 76 Metascore
    • 100 Erik Adams
    Beyond reference points and sermons for the converted, With Bob And David is a hilarious triumph on its own merits.
    • 75 Metascore
    • 91 Erik Adams
    Broad City presents a recognizable, recognizably hilarious perspective on what trying-but-failing looks like from the inside.
    • 84 Metascore
    • 91 Erik Adams
    [The] TV adaptation ... continues to surprise three years into its run. ... Unlike most shows that reach for the “reset” button, Hannibal wasn’t in a position where it needed a new beginning. It’s just the logical, natural place to go, and the fresh slate makes startling hay from the unknowns.
    • 80 Metascore
    • 91 Erik Adams
    The Leftovers staff digs at complex emotions with surgical precision and intimate storytelling.
    • 75 Metascore
    • 91 Erik Adams
    The Knick rides the beautifully brutal, brutally beautiful nexus of 2014’s televised finest--Hannibal, True Detective, and The Leftovers all leap to mind--set aside by moments of true hope.
    • 90 Metascore
    • 91 Erik Adams
    Amid the precision-tooled dick jokes and the airtight comedies of errors, Silicon Valley cuts the compelling tale of a creator forging his own path through a frontier where every other maverick is a charlatan--or worse.
    • 71 Metascore
    • 91 Erik Adams
    Fitting for a star whose improvised podcast appearances frequently turn down dark alleyways, Review really gets going when it digs deep into horrible behavior.
    • 78 Metascore
    • 91 Erik Adams
    The show’s premise has so much potential for musing and puzzling that it’s a relief it remembers to be funny, too.
    • 72 Metascore
    • 91 Erik Adams
    Love communicates the honesty its creators strived for, if only for the believable way it draws Gus and Mickey together across time, space, and their own insecurities. Put in the time with Love, and that time will be rewarded.
    • 70 Metascore
    • 83 Erik Adams
    Brooklyn Nine-Nine is a tight, funny pilot where the energy of the cast salvages the few down moments. Still, it lays some possible traps for the rest of the series, not the least of which is the ever-present temptation of cop-show cliché.
    • 50 Metascore
    • 83 Erik Adams
    The Mick prizes laughter above all—the petty sniping between kids and adults inspiring chuckles, the more elaborate and destructive set pieces going for gasps and belly laughs. When a sitcom knows its voice and sense of humor this early, growth and development can come along later.
    • 71 Metascore
    • 83 Erik Adams
    Although the early chapters aren’t rip-roaring laugh riots, that only means the funny stuff--Jamie’s mother doing some zero-hour remodeling; Rhonda displaying her lack of criminal bona fides mid-looting--leaves a deeper impact.
    • 88 Metascore
    • 83 Erik Adams
    The series is at its most potent when it reframes the everyday in the context of the Cold War, like Philip comparing notes on home life with a Mossad operative or Elizabeth displaying a flash of vulnerability in front of a government-contracted dupe. (And then betraying that parental bond by turning it into a threat.) Other aspects of the show would do well to find this middle ground; they’re getting there in season two.
    • 73 Metascore
    • 83 Erik Adams
    The show is funny, but never gut-bustingly so; it’s most often a triumph of atmosphere, a hangout show with a tremendous (and too infrequently engaged) sense of tension.
    • 66 Metascore
    • 83 Erik Adams
    Under normal circumstances, this wouldn’t be funny. But there’s a lot talented people hard at work on this show making sure that Trial & Error is presenting nothing that resembles “normal circumstances.”
    • tbd Metascore
    • 83 Erik Adams
    It can hit (Odenkirk, the best curser in the biz, swearing his way through a procedure) and miss (the ending of “Hole” is a bit soft) in equal measure. Either way, it’s exciting to watch Heidecker and Wareheim stretch their legs like this.
    • 84 Metascore
    • 83 Erik Adams
    Justified has always been a show about defining yourself, for yourself. So long as it keeps finding fresh criminal conspiracies to wrap around that core--as season five appears to have done--the show will remain a must-watch.
    • 81 Metascore
    • 83 Erik Adams
    Subtext is an Achilles’ heel that The People V. O.J. Simpson finally healed for Murphy, and though Bette And Joan doesn’t represent a full recovery, it lands some clever jabs at the status quo through depictions of the stars’ insecurities and beauty regimens.
    • 64 Metascore
    • 83 Erik Adams
    Life In Pieces’ greatest asset could become its greatest liability, as the series wolfs down potential stories four at a time. But if they’re as funny, well acted, and snappy as the stories in the premiere episode, it’ll be worth it to watch whatever stories Life In Pieces gets to tell.
    • 71 Metascore
    • 83 Erik Adams
    The Grinder is a very good pilot that suggests six or seven different directions for the show that follows--not all of them as sharp or as funny as the first episode.
    • 81 Metascore
    • 83 Erik Adams
    Despite his delivery route’s familiarity, The Guy still has plenty of tricks in his bag.
    • 74 Metascore
    • 83 Erik Adams
    To endure as a TV series, Westworld will need to bridge the gap between its fascinating ideas and the blank canvases they’re projected upon. Fortunately, it’s not so lost in its thoughts to forget that a robot-cowboy show ought to have the occasional shootout, heist, or daring escape. And while it’s never as plainly satirical as the original film, it still exhibits a sense of humor.
    • 72 Metascore
    • 83 Erik Adams
    There are portions of the 10-episode first season that are darker than any other American broadcast-network comedy, but not shying away from the inherent gravity of Bruce and Emma’s situation provides a rich shading to the stranger-in-a-strange-land laughs.
    • 83 Metascore
    • 83 Erik Adams
    There’s enough depth and complication in the performances alone to buoy the six-episode run, and given the intensity of the criminal specifics, the slow burn feels more like a feature than a bug.
    • 76 Metascore
    • 83 Erik Adams
    If Last Week Tonight With John Oliver can keep shedding humorous light on international affairs and other stories that fall through the cable-news cracks, this show might make it to eight weeks and beyond.
    • 90 Metascore
    • 83 Erik Adams
    While not quite reaching the heights of the show’s first season, Transparent manages to deliver something a little more fully formed and contained in season three.
    • tbd Metascore
    • 83 Erik Adams
    [The premiere] rarely takes the expected route, a heartening sight from a show entering its syndication years.
    • 78 Metascore
    • 83 Erik Adams
    The Case of the Starlet and Her Incendiary Disc is another sign that Archer isn’t losing any ambition with age. Reed and crew made the most of their relaxed production schedule, crafting a picture-postcard L.A. while giving the Figgis offices that “second floor of Sterling Cooper Draper Pryce” sheen.
    • 69 Metascore
    • 75 Erik Adams
    Reproduction isn’t The Spoils Of Babylon’s comic strong suit, absurdity is. Crummy special effects are cute, but the miniseries finds its voice by bursting Jonrosh’s bubble, illuminating his shortcomings as a filmmaker through mealy mouthed dialogue, incomprehensible blocking, and continuity errors.