For 144 reviews, this critic has graded:
  • 45% higher than the average critic
  • 3% same as the average critic
  • 52% lower than the average critic
On average, this critic grades 2.7 points lower than other critics. (0-100 point scale)

Judy Berman's Scores

Average review score: 66
Highest review score: 100 Mrs. America: Season 1
Lowest review score: 10 See: Season 1
Score distribution:
  1. Positive: 87 out of 144
  2. Negative: 18 out of 144
144 tv reviews
    • 82 Metascore
    • 90 Judy Berman
    A smart, gripping and wonderfully wild 10-episode drama. ... To say that Lovecraft Country is a whole lot of show would be an understatement. Blood and jump-scares aside, the scripts pack in transcendent musical numbers, parties teeming with guests, sex both tender and terrifying, cinematic car chases that hit the spot in a summer without blockbusters.
    • 86 Metascore
    • 100 Judy Berman
    As damning for the executive branch as it is illuminating for civilians, Immigration Nation is easily the most important TV show of the year.
    • 68 Metascore
    • 80 Judy Berman
    The Muppets have always been funniest when spoofing showbiz, and the same is true of Muppets Now. Though it lacks some of the warmth and sophistication of The Muppet Show, its characters have been smartly updated for the streaming era.
    • 59 Metascore
    • 50 Judy Berman
    An American Myth might’ve worked better as a leaner, more daring essay film. The premiere contains quite a bit of material that’s recycled in later episodes, to the extent that it feels like an hour-long trailer. More frustrating is that in avoiding voice-over narration, Chilcott makes her point through interviews that can contradict one another.
    • 57 Metascore
    • 80 Judy Berman
    Cursed may not be the most serious or profound program that TV has to offer, but you won’t find many shows more solidly built or satisfying. ... Rarer and more exciting still is that this fantasy drama understands that you can’t make good television in any genre without getting fundamentals like character, themes, storytelling and aesthetics right.
    • 72 Metascore
    • 80 Judy Berman
    The Capture doesn’t quite deliver the seamless resolution its first five episodes deserve. ... Still, this is the rare thriller that is not just smart and gripping, but also deeply engaged with our bizarre, often terrifying present. And it’s easily the best original show you’ll find on Peacock.
    • 78 Metascore
    • 80 Judy Berman
    Timely and haunting, if far from perfect. ... Although he was still in jail when Kondelis began filming, it’s the back half of Outcry, which follows him post-incarceration, that feels most profound.
    • 55 Metascore
    • 50 Judy Berman
    The series looks gorgeous, and expensive, even if its sci-fi brutalist aesthetic is a bit generic. The performances are solid, too; Ehrenreich, in particular, imbues his character with brooding charm. Episodes are fast-paced and pulpy. Yet something is missing from the show’s core. Television thrives on rich characters, but, in large part because it’s set in a realm devoid of eccentricity, I struggled to get invested in this bunch. ... Brave New World feels [inert] as serialized TV.
    • 73 Metascore
    • 90 Judy Berman
    Stateless starts slow, and its earnestness may be off-putting to some. But it has something profound to say about how injustice can snowball into catastrophe.
    • 87 Metascore
    • 90 Judy Berman
    Isn’t an anachronism so much as a tonic. ... The show strikes a shrewd balance between earnestness and humor, freshness and nostalgia, fidelity to Martin’s beloved characters and awareness of how much has changed since her books dominated girl culture at the end of the 20th century. ... This may all sound painstakingly woke on paper, but nothing feels forced about these updates. The main cast is spirited and authentic.
    • 82 Metascore
    • 90 Judy Berman
    In a fantastic HBO docuseries that shares the book’s title, director Liz Garbus (Lost Girls; What Happened, Miss Simone?) carries on the collective effort to finish McNamara’s work, fusing mystery and biography into an unusually empathetic true-crime story that feels complete at last.
    • 67 Metascore
    • 70 Judy Berman
    From a narrative standpoint, Perry Mason isn’t quite top-shelf HBO. In the spirit of the endearingly contrived original series, where Mason regularly got culprits to confess under oath, there are plot holes, unbelievable twists, speeches that sound great but raise more questions than they answer. Fans of the original’s case-of-the-week format may not be the only viewers frustrated by the slow pace of this serialized reboot. But Rhys leads a stellar cast.
    • 87 Metascore
    • 100 Judy Berman
    It seems as though everything on [the broadcast networks's] schedules that isn’t a cop or lawyer show is a doctor show. And yet, somehow, I’ve never seen anything like Lenox Hill before. ... By choosing the doctors they profile there with care, director-producers Ruthie Shatz and Adi Barash capture the astounding range of personalities, specialities and styles of care the medical profession encompasses—and do justice to the many varieties of everyday heroism that take place behind hospital doors. ... The show comes by its emotional resonance honestly.
    • 85 Metascore
    • 90 Judy Berman
    I May Destroy You stays on the right side of the line between providing context and shifting blame by telling an uncommonly holistic story. ... This degree of complexity would’ve been enough to distinguish the show from hundreds of earlier representations of sexual misconduct. Remarkably, though, it grows even more ambitious as it continues, without alienating viewers by deploying academic buzzwords or condescending lectures. ... More than the story of a woman who was raped, Coel is telling the story of how a writer living an unexamined life comes to know herself.
    • 56 Metascore
    • 60 Judy Berman
    Riihimaki, with her candy-colored aesthetic and seemingly endless store of energy, makes a perfect host. The kids are fantastic, too. ... But parents might cringe at how stylized the ultra-bright show is and how coached the contestants can sound in on-camera interviews.
    • 71 Metascore
    • 50 Judy Berman
    HBO Max’s new 11-minute episodes don’t feel overly sanitized—there’s still plenty of cartoon violence, and the absence of racist caricatures like Speedy Gonzales is inarguably for the best. But besides being fresher, more inspired and more in sync with the culture that produced it, the old Looney Tunes has an endearing handmade feel that contemporary animators are just too slick to replicate.
    • 54 Metascore
    • 30 Judy Berman
    I was not prepared for how much I disliked early episodes of this show ... Showrunners Sam Boyd and Bridget Bedard (backed by a team of executive producers that includes Kendrick and Paul Feig) spend much of the season leaning on worn-out romance tropes and overplaying the lead’s adorkable charm. It’s all too expected. ... And when, to its credit, the show finally heads for novel territory about five episodes in, it’s too little, too late.
    • 72 Metascore
    • 40 Judy Berman
    It’s easy to imagine toddlers watching episodes on repeat. For adults, however, only the occasional guest—like John Mulaney, who’s shaping up to be his generation’s premiere good-with-kids comic—can make such a concentrated dose of Elmo’s high-pitched squeal worth enduring. The Muppet Show this ain’t.
    • 69 Metascore
    • 80 Judy Berman
    Could we, in the two episodes sent for review, have heard more on that topic from the participants themselves? Absolutely. The thing is, the performances are spectacular, each house gets ample opportunities to tell its unique story and, however you feel about her, Jamil maintains a pretty low-key presence. Thanks more to the contestants than to the celebs (though Tyson Beckford is a fun guest judge), Legendary might live up to its name.
    • 49 Metascore
    • 30 Judy Berman
    Space Force is exactly what you’d expect from a show conceived around a conference table, then executed by two network TV veterans with a budget befitting their track record but no personal connection to the premise. ... There are so many characters, it takes more than half the season to get to know anyone besides Naird and Mallory. ... Things can get repetitive when you watch more than one [episode] at a time.
    • 80 Metascore
    • 80 Judy Berman
    A delightful animated comedy. ... There’s nothing preachy about the show, which is just as raunchy as Burgers.
    • 75 Metascore
    • 80 Judy Berman
    It isn’t quite the perfectly paced masterpiece that movie was; some episodes drag, including a smallpox romp that’s more tiresome than timely. Still, its witty dialogue and lively performances yield a sharp, fun dramedy.
    • 55 Metascore
    • 50 Judy Berman
    TNT’s adaptation is slower and, unfortunately, somewhat convoluted.
    • 69 Metascore
    • 50 Judy Berman
    At no point in the elegantly structured, deeply researched docuseries does the creators’ point of view come into focus. ... What’s missing is synthesis. Each episode tracks how attorneys, activists and other interested parties interact with the media. Sometimes, it’s illuminating. ... More often, causes and effects remain fuzzy. The series neither creates a timeline nor makes an overarching argument.
    • 67 Metascore
    • 70 Judy Berman
    Though writer-director Derek Cianfrance smartly dilutes the melodrama with the same blunt realism that made his 2010 film Blue Valentine a gut punch, he doesn’t entirely succeed at bringing the narrative down to earth. ... It’s Ruffalo who rescues the show from mediocrity, counteracting heavy-handed twists and on-the-nose lines. ... Commanding as it is, his performance is also generous. It brings out the best in scene partners.
    • 89 Metascore
    • 80 Judy Berman
    In the end, despite the social distancing that the reunion had no choice but to depict, Parks is exactly as we left it five years ago: light, funny, comforting but willfully naive, and ultimately more appealing for its cast and the chemistry they’ve somehow retained than it is convincing in its worldview.
    • 55 Metascore
    • 50 Judy Berman
    The show does sometimes achieve the righteous thrills it sets out to provide. But beyond the plot holes and absurd twists and preachy speeches that Murphy fans routinely forgive out of affection for his exuberant, propulsive, pluralistic fictions, it lionizes some questionable figures—like Ernie, who has made his living essentially duping desperate young men into sex work. And it makes enacting large-scale social change look too easy. ... Hollywood’s act of faith feels naive.
    • 83 Metascore
    • 100 Judy Berman
    Excellent. ... It’s the rare show about family, identity and community that captures the complexity of how we perceive ourselves and others. ... The same insights help to power its pleasures—of which there are many. Despite the show’s seriousness, and the grief that forms its emotional core, Saracho and her writers season each script with moments of beauty and bliss. ... Wise, empathetic, exhilarating show.
    • 43 Metascore
    • 30 Judy Berman
    Too Hot is a thoroughly awful show—a social experiment with a flimsy premise that fails to either yield remarkable results or create interesting characters. But what its makers couldn’t have known during production is that it’s also weirdly relevant in the time of coronavirus.
    • 61 Metascore
    • 70 Judy Berman
    It’s the Curb Your Enthusiasm to Black-ish’s Seinfeld, with monologues interspersed throughout that tackle fraught issues within the black community, like materialism and fatherhood. These interludes can be illuminating, but they—along with the framing device and too many tired family-sitcom plots (e.g., Mom and Dad do drugs)—slow the already languid pace. More engaging are scenes that depict Barris’ professional life. ... Barris’ Larry-David-like self-awareness lends authenticity to his performance. Even if it takes another season to perfect, #blackAF feels substantial enough to justify the investment.

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