For 210 reviews, this critic has graded:
  • 47% higher than the average critic
  • 2% same as the average critic
  • 51% lower than the average critic
On average, this critic grades 2.4 points lower than other critics. (0-100 point scale)

Judy Berman's Scores

Average review score: 66
Highest review score: 100 Watchmen (2019): Season 1
Lowest review score: 10 See: Season 1
Score distribution:
  1. Negative: 27 out of 210
210 tv reviews
    • tbd Metascore
    • 80 Judy Berman
    A funny, addictive, shrewdly executed twist on a familiar format. ... Crucially, the women not only come off as relatively intelligent and perceptive, but also generally have each other’s backs, collaboratively sleuthing to sniff out FBoys and saving each other from unpleasant dates.
    • 43 Metascore
    • 30 Judy Berman
    All of this is executed with the least possible effort or ingenuity, from the generic bar where the first dates take place to the casting, which must’ve prioritized cockiness over all other traits. ... Episodes that top out at 25 minutes feel twice as long and culminate in no great desire to hit the “next episode” button.
    • 52 Metascore
    • 70 Judy Berman
    The revised premise, which I’ve been asked not to say much more about before the premiere drops, requires some willful suspension of disbelief. But if you can make that leap, the setup works surprisingly well.
    • 81 Metascore
    • 90 Judy Berman
    A darkly hilarious, existentially terrifying HBO miniseries. ... Yes, this is a hell is other people story. What makes it not just fresh, but thrilling is the way that Sartrean conceit gets filtered through the distinctive tragicomic sensibility of White.
    • 46 Metascore
    • 30 Judy Berman
    Sex/Life drowns itself in the shallow end, so to speak, by failing to even generate much heat. There are plenty of R-rated scenes—so many, actually, that they get repetitive.
    • 63 Metascore
    • 50 Judy Berman
    For all its redundancy, Epstein’s Shadow feels like a perfectly competent profile of a person for whom that isn’t necessarily a straightforward task. ... With so much time spent fleshing out what Maxwell was like, and how she got that way, Epstein’s Shadow leaves questions about the societal and systemic factors in their alleged crimes hanging.
    • 65 Metascore
    • 40 Judy Berman
    The overarching problem is inertness. The show spends so much time vacillating between styles that it neglects to move what should be a thrilling plot forward. By episode 3 (Kevin and Neil go to war over who can make a better chili), Kevin is spinning its wheels.
    • 80 Metascore
    • 90 Judy Berman
    It is that rare and precious thing, an action blockbuster for grown-ups. In fairness, the storytelling in Lupin doesn’t have quite the same taut precision as, say, The Parallax View. ... Even at its weakest, though, the show is so much more exciting than almost anything else on TV. Its glitz and gloss are immersive, its pace propulsive, its twists thrilling.
    • 49 Metascore
    • 20 Judy Berman
    The many extended, atmospheric stretches that rely on these visuals and performances get tedious fast. The show is too long; it wrings eight molasses-paced episodes out of a story that provides sufficient narrative for four at most. And technical competence can’t save a skeletal plot held together by pseudo-psychology or a script pocked with bad lines.
    • 83 Metascore
    • 90 Judy Berman
    Electrifying. ... There is a lot to love about We Are Lady Parts. The dialogue is sharp and funny. Vasan’s performance is endearingly vulnerable. There are trippy animations, clever pop-culture homages, catchy original songs.
    • 81 Metascore
    • 80 Judy Berman
    Beyond the witty dialogue and fashionable outfits, they’ve grounded this appealing series in the specifics of identity and place.
    • 49 Metascore
    • 50 Judy Berman
    An intermittently fascinating but mostly frustrating five-part drama.
    • 72 Metascore
    • 80 Judy Berman
    There’s plenty here for straight viewers to learn, certainly. More important, though, is Pride‘s fidelity to all of the many letters, colors and identities that make up the LGBTQ rainbow.
    • 92 Metascore
    • 100 Judy Berman
    Breathtaking. ... Jenkins uses the medium of serialized television to open up its layers, transcending the specifics of place and period. With roughly two minutes of screen time for every page of text, he’s able to reproduce the book’s most resonant monologues but also insert long, wordless, lyrical passages that communicate characters’ inner lives more elegantly and completely than the voiceover narration so many literary adaptations lean on.
    • 81 Metascore
    • 90 Judy Berman
    Throughout the six episodes I screened, the core of the show is Smart’s performance, which brings the perfect balance of steeliness and vulnerability. ... The pithy, insightful Hacks offers further confirmation that Smart is living through a career renaissance of her own.
    • 76 Metascore
    • 70 Judy Berman
    This season of The Girlfriend Experience contains some promising ideas, even though it retreads some familiar ground and the gendered implications of Iris’ double life go largely unacknowledged.
    • 55 Metascore
    • 50 Judy Berman
    This is a series that’s always tantalizing viewers with glimpses of profundity—in its political commentary, its plot complexity, its character development. But only in Theroux’s performance does The Mosquito Coast transcend the superficial.
    • 67 Metascore
    • 50 Judy Berman
    The equally promising and frustrating result, which debuts on Peacock April 22, bears evidence of some significant growing pains, combining ambitious, intriguing ideas and slow, overly delicate storytelling. ... The show is at its best when it stops apologizing for Nathan’s ignorance and starts spending more time with other characters.
    • 77 Metascore
    • 80 Judy Berman
    Essential, remarkably balanced vérité-style account of [Larry Krasner's] unlikely tenure as the city’s district attorney. ... Packed as it is with details that will surely be invaluable to policy makers, activists and academics, the series is bound to feel a bit long, at eight hours, to the casual viewer. Episodes tend to focus on single issues, and the most effective of them are structured around an individual person with a relevant story.
    • 82 Metascore
    • 90 Judy Berman
    In fact, deceptively stodgy title notwithstanding, it is a poignant, richly observed, if occasionally over-the-top HBO crime drama. ... Easttown is not an ideal place. Mare is not an ideal detective or mom. But both have something more compelling than perfection going for them: they’re real.
    • 56 Metascore
    • 40 Judy Berman
    Expensive, confusing mediocrity. ... There might have been a way to salvage such an unwieldy plot, so that a show whose dialogue, production values and acting (especially Donnelly’s lead performance) are above average for Dickenscore could at least hold viewers’ attention, the way the even-sillier Irregulars does. But the incomprehensibility of storytelling that barely allows time for us to register a character’s existence before moving on to a new set of faces, ensures that The Nevers is rarely fun.
    • 83 Metascore
    • 100 Judy Berman
    It may well be the most politically radical and intellectually challenging work of nonfiction ever made for television. ... The visuals are as arresting as the words. ... Exterminate All the Brutes makes an electrifying instruction manual.
    • 68 Metascore
    • 70 Judy Berman
    Odd, enjoyable but somewhat slight.
    • 59 Metascore
    • 40 Judy Berman
    Writers Richard Warlow and Toby Finlay (both Ripper Street alums) seem hesitant to engage with that material in any depth, and confused as to whether they’re making a stylish, voyeuristic period crime caper or a paranoid political thriller or a sober monument to Sobhraj’s victims or a tamer version of torture-porn flicks like Hostel.
    • 60 Metascore
    • 70 Judy Berman
    There’s nothing special about the acting, directing or writing, which foregrounds monster-of-the-week plots. That’s not a complaint, though. The reason to watch The Irregulars is because it’s fun. And it’s most fun when it leans into dark pastiche: opium dens, taxidermists, occultists staging murder scenes to resemble tarot cards.
    • 66 Metascore
    • 80 Judy Berman
    Aretha is an uneven yet largely thoughtful, gripping and visually stunning portrait of a generational talent. Its sensitive, though not hagiographic, narrative illuminates a superstar with a widely beloved body of work but a poorly understood biography and inner life.
    • 82 Metascore
    • 100 Judy Berman
    An instant classic of children’s television; the magic is all in the imaginative, endlessly flexible premise and its outstanding execution. ... Engaging, illuminating, curious and effortlessly inclusive, light but not glib or cloying, educational without being pedantic, made for tots yet clever and stimulating enough for adults to enjoy alongside them, Waffles + Mochi might be the first great kids’ show of the decade.
    • 74 Metascore
    • 80 Judy Berman
    What’s satisfying isn’t that the roommates have evolved to become what Kevin calls woke, so much as that (in Homecoming’s premiere, at least) they come off as thoughtful, empathetic, reasonably intelligent and self-aware adults.
    • 35 Metascore
    • 30 Judy Berman
    Tina and Amy (who represented the West Coast branch of the industry at the Beverly Hilton) did a pretty admirable job for two people co-hosting a primetime telecast from opposite sides of the country. ... [But] A three-hour Zoom meeting with appearances by Elle Fanning and Regina King in evening gowns is, alas, still a three-hour Zoom meeting—which is to say, it’s riddled with technical difficulties and not exactly an escapist treat for a nation with Zoom fatigue.
    • 48 Metascore
    • 20 Judy Berman
    It saddens me to report that the Peacock sequel represents just about everything that can possibly go wrong with this sort of project. ... It isn’t just the nostalgia that grates early and often. The writing on the show is almost uniformly atrocious, with dialogue toggling between parental bromides (“I don’t know what I’m doing—it’s called parenting!”) and sub-Disney Channel silliness.

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