For 152 reviews, this critic has graded:
  • 55% higher than the average critic
  • 7% same as the average critic
  • 38% lower than the average critic
On average, this critic grades 1 point higher than other critics. (0-100 point scale)

Erik Adams' Scores

Average review score: 69
Highest review score: 100 Toy Story That Time Forgot
Lowest review score: 25 Man With a Plan: Season 1
Score distribution:
  1. Negative: 5 out of 152
152 tv reviews
    • 72 Metascore
    • 75 Erik Adams
    They don’t have everything flawlessly calibrated in Stranger Things 3, but there’s enough of the taste that got viewers hooked in the first place to keep them cracking open one episode after another.
    • 77 Metascore
    • 50 Erik Adams
    At its best, Years And Years is like a limited-series-as-ant-farm; more frequently, however, it feels like it’s sadistically frying those ants under a magnifying glass.
    • 82 Metascore
    • 83 Erik Adams
    With so much being communicated through the subtitles, the storytelling has to stay relatively simple. But as the show starts playing up its characters and playing down their paranormal hijinks, a tidy fable about the nature of collaboration emerges, underlining the critical role each individual Espooky plays in the operation.
    • 87 Metascore
    • 83 Erik Adams
    It’s about the progression of entropy to organization, individual agents of chaos coalescing into a civilization—collections of cells, each aggregate a smaller, separate life. David Milch is also a believer that time is the true subject of all stories. Deadwood: The Movie is both of these philosophies in practice, in addition to an emotionally nourishing, necessarily abbreviated conclusion to a show that went a decade and change without one.
    • tbd Metascore
    • 67 Erik Adams
    The Unauthorized Bash Brothers Experience is joke-dense and visually rich, but comes up short on a key factor for making the Lonely Island big leagues: It doesn’t invite the type of repeat viewing that built the cults of Hot Rod and Popstar.
    • 70 Metascore
    • 58 Erik Adams
    Some bright spots aside—moments of inspired physical comedy from the erstwhile Dr. Doug Ross; a properly crackling translation of the promotion and closed-door policy of the fortunately named Major Major Major (Lewis Pullman)—settle instead for a tone that’s less about the maddening pointlessness of war and more about its bloody horrors, complete with mournful instrumental score.
    • 68 Metascore
    • 50 Erik Adams
    The ambition of the piece rises to the level of those vaunted credits, if not necessarily their quality. In a chronologically scrambled tale of its titular subjects coming together, splitting apart, and forever driving one another to new creative highs, Fosse/Verdon mimics the former’s cinematic panache, while occasionally moving with the grace of the latter.
    • 60 Metascore
    • 67 Erik Adams
    The first impression of Abby’s is one as enticingly unrefined as its central setting. Sitcoms are often acquired tastes; this one just so happens to be reminiscent of the rare exception that tasted good from the very first drop. And while it doesn’t have everyone around the bar figured out, the sight of Morales so at home on a show with her name in the title is worth raising a glass to.
    • 64 Metascore
    • 67 Erik Adams
    The show walks a tonal tightrope with ease, though there are some spots where it feels caught between television worlds.
    • 79 Metascore
    • 100 Erik Adams
    The Other Two is so smart and so funny about celebrity, success, family, pop culture, relationships, and the various kingdoms of Andy Cohen’s reality-show empire. It’s a star-making vehicle for Heléne Yorke and Drew Tarver. ... The Other Two is TV’s first can’t-miss comedy of 2019.
    • 57 Metascore
    • 67 Erik Adams
    Sure, Black Monday needs to slow down every once in a while or risk exhaustion; when Rogen and Goldberg are behind the camera for the premiere, they transfer the chaos of the trading floor to practically every other setting, pushing things right up to the edge of shrill. In its first three episodes, the show hasn’t figured out a proper balance.
    • 71 Metascore
    • 58 Erik Adams
    Ali sculpts a full, tragic figure in a relatively short amount of time and from a fairly limited amount of raw material. Even as the story’s focal point, Wayne is underwritten, a character more notable for the way he’s played and the extraordinary circumstances he finds himself in than for, say, his past as an army tracker or his off-duty boar-hunting hobby. The lack of personality pervades the scripts.
    • 56 Metascore
    • 67 Erik Adams
    There’s something potent there, something fundamentally Weiner-esque. But it just doesn’t connect in these three episodes. And so the show mirrors its characters in yet another way: It falls short of those which came before it.
    • 90 Metascore
    • 91 Erik Adams
    Big Mouth’s general lack of shame and its love of a good anatomical reference is likely to keep the show from getting as big as it ought to be, but it’s shown that it deserves to be included in any conversation about TV’s animated greats. And the new season demonstrates that Big Mouth is capable of growing alongside its characters.
    • 76 Metascore
    • 83 Erik Adams
    Maniac is one of the year’s most refreshing series and a series that always seems 10 seconds away from declaring, “The most complicated computer of all is the human mind.” It’s hypnotizing eye candy that won’t completely nourish the brain or the soul, but it will satiate them for a little bit.
    • 68 Metascore
    • 67 Erik Adams
    Kidding finds Carrey and Gondry drilling into the bedrock of memory and trauma, displaying how two people can perceive and channel the same source of pain in distinctly different fashions. It just doesn’t do a great job of doing that beyond people who aren’t Jeff or his onscreen alter ego. ... There is ambition, talent, and imagination to spare here, which is what makes Kidding worth watching where other, similarly messy cable series in this register aren’t.
    • 87 Metascore
    • 91 Erik Adams
    In order to land some sorrowful emotional beats, these new episodes have to shed some of Better Call Saul’s defining lightheartedness. And make no mistake: The way season four kicks into gear with such confidence and precision has all the markings of Breaking Bad’s clockwork plotting.
    • 78 Metascore
    • 67 Erik Adams
    You may come away from Come Inside My Mind with a better understanding of who Robin Williams was, but a likelier takeaway is in the reaction of that HBO On Location crowd: the laughs, the sense of awe, the expressions that all but say, “How did he do that?”
    • 66 Metascore
    • 58 Erik Adams
    The show excels at bookending its episodes with big set pieces and stylish suspense sequences. It lets the slack out in between, when all those stories have to jockey for position with the mythology and characters, who are still only partially formed nearly halfway through the season. Castle Rock has to have a lot of personality, because a lot of the people living there don’t.
    • 54 Metascore
    • 42 Erik Adams
    Costner delivers one of the most leaden performances in the recent history of marquee stars coming to TV, operating from a baseline of mild irritation that’s modulated only when he’s, say, in mourning, or being shot at in a helicopter. (And even then, just barely.) Much of the cast is out to sea here. ... Part of the show’s failure to connect might have to do with Sheridan (who co-created with fellow Sons Of Anarchy vet John Linson) crafting his characters primarily as symbols.
    • 58 Metascore
    • 58 Erik Adams
    Lost In Space is at its strongest when the unknown is coming for the Robinsons, not the other way around. The Netflix series never fulfills the wasted promise of Lost In Space, but for a show that’s navigating such well-trod territory, it does turn up some intriguing unknowns.
    • 90 Metascore
    • 83 Erik Adams
    Zen Diaries assembles a comprehensive (occasionally too comprehensive) collage from such footage, combining it with home-movies, broadcast clips, vintage audio, new interviews, and excerpts from the copious journal entries the comedian left behind when he died of a heart attack in 2016.
    • 59 Metascore
    • 58 Erik Adams
    Rise is both a production wobbling toward sure footing, and a depiction thereof.
    • 77 Metascore
    • 83 Erik Adams
    More than the love story itself, Love’s greatest achievement might be that it managed to make Gus and Mickey feel like fully realized, complicated individuals independent of their love story.
    • 97 Metascore
    • 91 Erik Adams
    Patience is required by and rewarded in the three episodes screened for critics: Some stage-setting is necessary to illustrate changes in the characters lives, but it also fits with the moseying pace and under-the-influence tenor Glover and director Hiro Murai struck in the first season.
    • 59 Metascore
    • 83 Erik Adams
    At times, A.P. Bio struggles to build a bridge between what’s happening in Jack’s classroom and the rest of Whitlock, but the performances in the B-plots are so uniformly strong, they practically justify these digressions all on their own.
    • 62 Metascore
    • 42 Erik Adams
    In a debut season that eventually frames itself within the shaky alliance between the dweebs of Boring High’s A.V. club and the self-styled outsiders of the drama club, there’s a lot to Everything Sucks! that never gels.
    • 74 Metascore
    • 75 Erik Adams
    The Assassination Of Gianni Versace plays better as parable than reportage. While it never quite becomes the twin narrative of Versace’s and Cunanan’s lives that’s hinted at in the early episodes, it continues using them as mirror images of one another: creator and destroyer, mother’s apprentice and father’s favored child, doting brother and prodigal son.
    • 75 Metascore
    • 67 Erik Adams
    Godless doesn’t reinvent the wagon wheel, but it gets a few good spins out of trusty Western standbys in its too-long seven-hour run. The limited series struggles to recover from an early peak; in the final 20 minutes of the premiere episode, all the pieces for an epic oater fall into place. ... The gunfights are captivating, and Scott Frank sure knows how to pepper in the comic relief, but Godless all comes back to La Belle.
    • 78 Metascore
    • 91 Erik Adams
    Like a super-sized Columbo case, the culprits have already been identified, and they’re shockingly, hilariously tracking bloody footprints across New York City. They, and Search Party, seem like they’re in over their heads at the start, but it only gets better the deeper they go.

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