For 196 reviews, this critic has graded:
  • 32% higher than the average critic
  • 3% same as the average critic
  • 65% lower than the average critic
On average, this critic grades 7.2 points lower than other critics. (0-100 point scale)

Inkoo Kang's Scores

Average review score: 62
Highest review score: 100 Hacks: Season 2
Lowest review score: 10 Solos: Season 1
Score distribution:
  1. Positive: 96 out of 196
  2. Negative: 21 out of 196
196 tv reviews
    • 78 Metascore
    • 70 Inkoo Kang
    There’s plenty to praise here but also just enough to twitch a few fingers in preparation for a Hulk Smash.
    • 75 Metascore
    • 60 Inkoo Kang
    No season has fully cohered, including the third outing that debuted Friday, which feels a tad too earnest for its own good.
    • 64 Metascore
    • 40 Inkoo Kang
    The simplicity of the plot gives away the disastrous overconfidence in stretching the story out to 12 half-hour chapters. ... The result is a frustrating weightlessness to the ups and downs of Frances and Nick’s entanglement, which is supposed to be overwhelming and potentially life-altering because of her youth and his unique vulnerabilities. But it’s mostly just a snooze.
    • 88 Metascore
    • 100 Inkoo Kang
    It’s a joy to see the rest of the series catch up with [Jean Smart's] munificent excellence in its sophomore year. The writing is funnier and more poignant, the ensemble has gelled and the tonal jaggedness that plagued the previous season has been smoothed out. With Smart never better, the first six episodes (of eight total) find the show firing on all cylinders. It’s exactly what you’d hope from any sophomore season.
    • 81 Metascore
    • 70 Inkoo Kang
    The deeply satisfying character development of each Girls5eva member — and the greater poignancy of their sisterhood in their later years, as the concept matures from Spice Girls-esque marketing hook to genuine affection and respect for one another — eventually makes up for the uneven pacing and lack of bangers.
    • 80 Metascore
    • 60 Inkoo Kang
    In the end, its pleasures are rather cerebral, less a whodunit than a story about telling stories — and the omissions in hopeful service of a greater truth.
    • 71 Metascore
    • 60 Inkoo Kang
    A moody and well-paced but schematic seven-part miniseries. ... “Under the Banner of Heaven” is most compelling when it explores the circumstances that paved the way for the Lafferty brood’s self-conversion and smartly concludes there’s no single reason for it. ... As the Laffertys become radicalized, Pyre’s crisis of faith and challenging home life become comparatively less engaging.
    • 70 Metascore
    • 30 Inkoo Kang
    Stevens said that “Gaslit” means to tell the “human stories” behind Watergate. In nearly every aspect of that attempt, it fails. With Martha as the lone exception, the characters are cardboard cutouts or cartoon villains. ... Roberts simply feels miscast as Martha ... It exists to draw attention to itself but has little else to say.
    • 76 Metascore
    • 70 Inkoo Kang
    In a welcome contrast to the show’s first year, the whodunit and sobriety storylines are far better integrated, providing not just a moving but also bracing portrayal of alcohol dependency amid crisis. Still, it’s difficult not to notice that the overstuffed season — which adds Sharon Stone, Cheryl Hines, Margaret Cho and Mo McRae to the cast — is missing some of the series’s signature propulsiveness.
    • 79 Metascore
    • 80 Inkoo Kang
    Season 2 offers a more conventionally enjoyable (and more surreal) yarn, hopping decades, continents and bodies. It’s messier than its predecessor but less insular and claustrophobic, too.
    • 50 Metascore
    • 60 Inkoo Kang
    Perhaps it’s because Betty Ford’s story is the least known among the three that her scenes are the most compelling. ... Obvious dental prosthetics and an unfortunately mannered turn by Anderson — though less strained than her effortful pantomime of Margaret Thatcher on “The Crown” — distract from a rewriting of Eleanor Roosevelt that’s fairly bold, at least for a mainstream TV series. ... Michelle Obama’s time in the White House simply needs more time for it to be satisfyingly narrativized; she has decades yet to finish her story.
    • 76 Metascore
    • 80 Inkoo Kang
    Lancashire is much more naturalistic than Streep, giving us her character’s fury and self-doubt as well as her scheming and charisma.
    • 87 Metascore
    • 60 Inkoo Kang
    The TV series compellingly channels this unknowability of Sunja to her grandson, too. But after Solomon washes his hands of the deal he came to Japan to finesse, the show gives him an overly familiar and rather soapy storyline that, no matter how skillful the tugs at the heartstrings, deflates the season’s back half.
    • 70 Metascore
    • 70 Inkoo Kang
    Despite a slow start, there’s a great deal more narrative polish and visual splendor to this season.
    • 65 Metascore
    • 50 Inkoo Kang
    “WeCrashed” never lets us — or failed actress Rebekah — forget she is a cousin of Gwyneth’s. But the show never leans fully into camp or cattiness, frustratingly stuck instead somewhere between dishy and humanizing.
    • 77 Metascore
    • 60 Inkoo Kang
    Uncomplicated and ahistoric, the breezy (though not particularly funny) comedy, set in Los Angeles, isn’t concerned with its time period’s competing versions of feminism, nor what each denomination’s notions of pornography for (presumably straight) women may be.
    • 68 Metascore
    • 50 Inkoo Kang
    The coaching catastrophes offer a compelling throughline to the otherwise limpingly paced season, cohering the massive ensemble and complementing the show’s know-it-all earnestness with its can-you-believe-this raconteurism. ... But for my tastes, McKay has entered, with “Winning Time,” an Aaron Sorkin-esque level of directorial obtrusiveness, where a filmmaker’s tics and indulgences keep calling attention to themselves, distracting from the narrative at hand rather than amplifying it.
    • 63 Metascore
    • 70 Inkoo Kang
    The first two episodes are fueled by sneers, bombast, hard rock and dialogue that tries a little too hard to replicate the “A million dollars isn’t cool. ... But then the supporting characters — starting with Travis’s first major investor, Bill Gurley (Kyle Chandler) — emerge, and “Super Pumped” becomes much more humane, coherent and watchable.
    • 75 Metascore
    • 50 Inkoo Kang
    Save for the corrosive romance at the heart of the show, “The Dropout’s” first seven episodes (the number provided to critics) don’t imagine enough, perhaps to hew to a journalistic impulse that’s noble in theory, but fails to fully satisfy in execution. In the end, its title character remains as elusive as her promises.
    • 96 Metascore
    • 100 Inkoo Kang
    The still-stellar new season isn’t quite as urgent or consummate as its predecessor, but a turn toward the existential feels absolutely right as the women compare and critique each other’s half-complete journeys toward liberation.
    • 71 Metascore
    • 50 Inkoo Kang
    Narrated by Coodie, “Jeen-yuhs” often feels like the co-director’s attempts to make the world see West through the eyes of a longtime pal like himself, but we don’t get enough context for their relationship for that point of view to fully develop.
    • 58 Metascore
    • 40 Inkoo Kang
    Suck all the joy, exuberance and wondrous charisma out of “The Fresh Prince” — a worthy launchpad for an actor who, in his prime, was widely considered the biggest movie star in the world — and you’re left with the gloomy and plodding “Bel-Air.” ... A suffocating self-seriousness overhangs “Bel-Air.”
    • 57 Metascore
    • 30 Inkoo Kang
    A series as intellectually empty, structurally disjointed and just badly written as “Inventing Anna” can’t help feeling like a con, too.
    • 70 Metascore
    • 60 Inkoo Kang
    “Pam & Tommy” is certainly watchable, if questionably structured.
    • 59 Metascore
    • 30 Inkoo Kang
    Jackson’s iron grip on “Janet Jackson” has produced an initial two chapters that are feather-light on revelations. That first half is an authorized autobiography in the worst way: empty, glossy, bloated and wholly indifferent to what other people might find interesting about its subject.
    • 68 Metascore
    • 40 Inkoo Kang
    The series’s headlining star is Carrie Coon, who’s trapped in an iciness from which Fellowes barely lets her stir. (She’s hardly alone; the sprawling cast is chockablock with beloved actors, nearly all saddled with frustratingly underwritten characters.) ... Apart from Peggy, whose journeys between the Black and White New Yorks provide some novelty, there is hardly anyone to root for or invest in.
    • 82 Metascore
    • 80 Inkoo Kang
    Overall, “As We See It” is sensitive, moving and reliably funny, if a tad too reliant on comic relief involving Jack and Violet’s lack of tact. The performances are seamless across the board.
    • 76 Metascore
    • 80 Inkoo Kang
    Instantly charming and dense with talent.
    • 63 Metascore
    • 70 Inkoo Kang
    The writing and direction has a little ways to catch up with the cast, which comprises mostly unknowns who have already solidified into a slick ensemble.
    • 49 Metascore
    • 30 Inkoo Kang
    “How I Met Your Father” (created by the writing team of Isaac Aptaker and Elizabeth Berger, who also adapted the TV series “Love, Victor” from the film “Love, Simon”) simply feels like a void — an absence where interesting characters or relatable scenarios or effective attempts at wit and charm should be.

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