Joanne Ostrow

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For 297 reviews, this critic has graded:
  • 63% higher than the average critic
  • 1% same as the average critic
  • 36% lower than the average critic
On average, this critic grades 3.2 points higher than other critics. (0-100 point scale)

Joanne Ostrow's Scores

Average review score: 72
Highest review score: 100 Arrested Development: Season 2
Lowest review score: 0 Rob: Season 1
Score distribution:
  1. Negative: 12 out of 297
297 tv reviews
    • 74 Metascore
    • 80 Joanne Ostrow
    His sly humor regularly saves his epic battles of good versus evil from being one-dimensional, and "Storm of the Century'' is no exception.
    • 58 Metascore
    • 60 Joanne Ostrow
    Unlike "X-Files" and "VR.5," however, Sliders wants to be humorous while offering an exciting weekly quest. It tries to be cute while the heroes struggle to find a way "home." The cuteness quickly becomes a liability. At times, the comic element turns weak and the characters risk seeming cartoon-like. In the end, "Sliders" may appeal to a younger audience, an audience less concerned with science and fantasy than with comedic adventure. And that will be just fine with Fox. [21 March 1995]
    • Denver Post
    • 64 Metascore
    • 90 Joanne Ostrow
    Clearly, this is not a cookie-cutter network offering; it's bold, at times difficult, and aiming for greatness. [20 March 2000]
    • Denver Post
    • 84 Metascore
    • 70 Joanne Ostrow
    The resulting Scorsese film is just like its subject: often frustrating but always compelling. [25 Sep 2005, p.F1]
    • Denver Post
    • tbd Metascore
    • 50 Joanne Ostrow
    The cinematography is admirable, and the accounts from historians and academics are sound. But the sight of Burt Reynolds in rose-tinted glasses explaining that George Armstrong Custer “was a hell of a soldier” does little to inform the project.
    • 61 Metascore
    • 50 Joanne Ostrow
    The subtlety that made [The Good Wife] work is not in evidence here. Nor does this hour demonstrate the sophisticated humor of “Veep,” a better parody that doesn’t need a zombie-like subplot.
    • 46 Metascore
    • 40 Joanne Ostrow
    The combo platter of drama, crime, family and lots of food porn doesn’t quite gel. Everything feels predictable, the downbeat tone spreads across the plate to infect performances and, ultimately, the audience.
    • 87 Metascore
    • 80 Joanne Ostrow
    The level of comedy is again superlative, with Appleby and Zimmer carrying the cynicism and viciousness to new levels.
    • 83 Metascore
    • 90 Joanne Ostrow
    The story is as relevant as ever, cinematically more stunning and historically more accurate than the original. The casting is again superlative--Forest Whitaker as “Fiddler,” Jonathan Rhys Meyers as villain Tom Lea, James Purefoy, Anika Noni Rose and Laurence Fishburne are just the start.
    • 76 Metascore
    • 80 Joanne Ostrow
    Scripture and subtle wit are sprinkled through the outrageous violence and a particularly lovely vocal accompanies a grotesquely violent massacre aboard an airplane. This one will delight a certain narrow audience.
    • 78 Metascore
    • 90 Joanne Ostrow
    The film brings the crude, demanding LBJ into focus along with the insecure, desperately needy man in one indelible performance. It's a beautifully rounded portrait of a complicated man at a crucial point in history, pushing for an important victory while tiptoeing toward the future that was Vietnam.
    • 77 Metascore
    • 60 Joanne Ostrow
    Seeso’s first original scripted comedy, written and directed by BAFTA-nominated Will Sharpe, is a head-scratcher. It does have Olivia Colman going for it.
    • 82 Metascore
    • 90 Joanne Ostrow
    It's more than slick. The spy tale is a great character study built on concerns about how superpowers, intelligence communities and organized crime operate and what the quest for revenge can do to decent people.
    • 72 Metascore
    • 70 Joanne Ostrow
    Confirmation is not nearly as nuanced as the recent O.J. Simpson trial docudrama on FX. It’s also much shorter and more reliant on news footage. But it similarly revives memories of a wild media/cultural/political flashpoint.
    • 95 Metascore
    • 70 Joanne Ostrow
    The key characters remain compelling although the multiplying coincidences and overlapping relationships are becoming trying.
    • 47 Metascore
    • 30 Joanne Ostrow
    Think “Game of Thrones” for broadcast TV, minus dragons, with over-the-top melodrama, as much skin as broadcast TV will allow and bad dialog.
    • 76 Metascore
    • 80 Joanne Ostrow
    Luckily the addition of a few big-name guest stars helps the series regain "the big mo," as they say in politics. Judging by the six episodes I've screened, HoC remains an addictive if not credible political potboiler, elevated by new actors.
    • 78 Metascore
    • 80 Joanne Ostrow
    It's a beautiful interview piece with archival photographs and clips that will inform any viewer's appreciation of the performing arts.
    • 71 Metascore
    • 80 Joanne Ostrow
    The thrill of rock 'n' roll as it took a turn toward modern punk, discovered disco and made way for hip-hop in 1970s Manhattan is captured in a fresh way in Vinyl, a tough-minded series.
    • 61 Metascore
    • 80 Joanne Ostrow
    Dreyfuss is sensational as Madoff, a twinkle in his eye as he explains his "magic."
    • 90 Metascore
    • 90 Joanne Ostrow
    The casting is terrific.... There are numerous surprises, including how riveting the tale is in this telling.
    • 71 Metascore
    • 70 Joanne Ostrow
    This experimental extended series takes its time before making any sense. Dive in, and marvel at the fact that at least it’s different.
    • 61 Metascore
    • 50 Joanne Ostrow
    Unfortunately the storytelling lacks subtlety. The good and evil characters are too starkly one or the other. The camera tends to flag ideas or objects in advance and make points too obviously.
    • 73 Metascore
    • 80 Joanne Ostrow
    London Spy, premiering Jan. 21 on BBC America, is a complex, sometimes cryptic import that is worth puzzling over.
    • 85 Metascore
    • 90 Joanne Ostrow
    [John] Ridley, the creator-writer-producer, has delivered a 10-episode series that is provocative not just in terms of clever scriptwriting but in what it asks of the viewer.
    • 76 Metascore
    • 50 Joanne Ostrow
    While it's wonderful to be reacquainted with the various charming characters for the sixth and final season, the series' essential problems remain: A lack of subtlety as plot turns are signaled and then underscored; a tendency to keep certain characters stuck in one emotional state for prolonged periods--how much more angst can Anna and Bates (Joanne Froggatt and Brendan Coyle) telegraph again and again?, and a reliance on our allegiance to certain actors.
    • 73 Metascore
    • 80 Joanne Ostrow
    Great casting, terrific costumes, even a worthy new original song made it a spirited night.
    • 77 Metascore
    • 80 Joanne Ostrow
    The hour, directed by Chris Rock, further cements her status as an all-medium power player. By turns coy, insecure, dramatic and challenging, Schumer has the flexibility to make her conversation both intimate and grandstanding.
    • 80 Metascore
    • 80 Joanne Ostrow
    Season 2 of Manhattan gets off to a slow start and may require catch-up work. But the high-minded story about the creators of the atom bomb soon picks up the pace.
    • 96 Metascore
    • 100 Joanne Ostrow
    Despite its endlessly flat landscape, FX's Fargo is elevated by the most spellbinding direction of any drama currently on TV. Season 2 achieves new heights, thanks to writer-director Noah Hawley. The music is exaggeratedly dramatic, and the split-screen device is a throwback to early TV and film's bold experimentation.

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