For 562 reviews, this critic has graded:
  • 44% higher than the average critic
  • 4% same as the average critic
  • 52% lower than the average critic
On average, this critic grades 4.1 points lower than other critics. (0-100 point scale)

Ken Tucker's Scores

Average review score: 65
Highest review score: 100 The Leftovers: Season 3
Lowest review score: 0 Marvel's Inhumans: Season 1
Score distribution:
  1. Negative: 57 out of 562
562 tv reviews
    • 74 Metascore
    • 91 Ken Tucker
    King wants to scare your pants off while also removing your moral blinders, and he succeeds.
    • 61 Metascore
    • 83 Ken Tucker
    King and Garris’ Shining improves on Kubrick’s in its emotional depth and quality of performances. De Mornay pulls off the tricky role of Wendy, a loyal doormat who proves to be no pushover, and it’s a testament to Weber’s skill that Jack comes across as a sympathetic, even tragic, figure. As for young Mead, his Danny perfectly captures the mute terror of a child, for whom an angry parent can be as traumatizing as a house full of ghosts.
    • 79 Metascore
    • 67 Ken Tucker
    In addition to It‘s slow pace, I found the ending a big letdown — unimaginative special effects animate the monster in its final incarnation. But the cast is terrific, Curry’s cackle is chilling, and King’s usual buried theme — about the pain adults inflict on children without even realizing it (It?) — is always worth pondering.
    • 63 Metascore
    • 83 Ken Tucker
    The writer’s achievement here is to have provided us with the video equivalent of a good summer read — Golden Years is entertaining and substantial at the same time.
    • 50 Metascore
    • 75 Ken Tucker
    When Cohen taps into King’s greatest theme — families in peril from forces beyond their understanding — The Tommyknockers can be moving. The rest of the time, it’s never less than an entertaining goof.
    • 59 Metascore
    • 75 Ken Tucker
    This makes The Langoliers slow going in spots, but it’s also a lot more fun than most TV movies...Pinchot turns in a wonderfully delirious performance as a grown-up abused child driven to succeed as a banker by memories of his cruel daddy. And even though the langoliers are pretty obviously computer-animated special effects, these little meatballs are still pretty scary. I’d rather watch them than a Susan Lucci TV movie any day.
    • 61 Metascore
    • 83 Ken Tucker
    If The Stand itself isn’t the perfect King adaptation, that doesn’t really matter, because perfection isn’t what a pop-culture omnivore like King aims for anyway. He’s after glorious excess, and The Stand has that in spades.
    • 56 Metascore
    • 50 Ken Tucker
    The first two thirds of this series acts as the opposite of the Godfather line that Steven Van Zandt’s character is always quoting in The Sopranos: Every time I thought I was pulled in, the show kept pushing me out.
    • 71 Metascore
    • 83 Ken Tucker
    The exact TV equivalent of a good MAD magazine spoof...
    • 62 Metascore
    • 40 Ken Tucker
    Robin Wright is many things, but possessed of a light touch she is not. Her grim addresses--to the camera, and to anyone within camera range--are steely and unceasing, with very little variation in tone or emotion. It doesn’t help that the dialogue--for nearly every character, but especially for Claire--is stilted. ... The show has gotten rid of its biggest troublemaker without replacing him with new trouble that would be more entertaining.
    • 83 Metascore
    • 90 Ken Tucker
    The whole production is a beautiful machine, with strong supporting performances.
    • 74 Metascore
    • 50 Ken Tucker
    The two tones--Sabrina behaving as though she’s caught in a teen soap opera; the aunts dithering animatedly--are frequently jarring.
    • 67 Metascore
    • 40 Ken Tucker
    It’s fitfully interesting to see Zellner mount her new defense, but the fact that both Avery and Dassey are still in prison doesn’t exactly make you want to race through the series to witness a triumphant conclusion.
    • 79 Metascore
    • 60 Ken Tucker
    Well-acted and ponderously paced, The Haunting of Hill House would have benefited from less straining for the artistic and more of a desire to jolt its viewers.
    • 55 Metascore
    • 30 Ken Tucker
    The deluge of empowerment is relentless, repetitive, and boring. The supernatural elements of the plot seem borrowed from old episodes of Supernatural and Buffy the Vampire Slayer. The special effects are super-cheesy, not much better than an old episode of Bewitched.
    • 75 Metascore
    • 80 Ken Tucker
    The writing as overseen by veteran Roseanne producer Bruce Helford is sharp--the tone is very similar to the 10 years of the original Roseanne you may have watched and enjoyed.
    • 58 Metascore
    • 40 Ken Tucker
    It’s all extremely boring. ... The show remains very thin gruel when it comes to nourishing laughter, and it’s considerably worse when it gets preachy.
    • 53 Metascore
    • 50 Ken Tucker
    Alas, it’s the new material here that is the weakest aspect of the show.
    • 48 Metascore
    • 70 Ken Tucker
    Hernandez is fine as Magnum: He pulls off the character’s essential charm as a man of action who’d prefer to come across as a good-natured beach bum. Assiduous fans of the original will note other careful details carried over here. ... The new Magnum P.I. is perfectly fine, but in an era when so much television is first-rate, is “perfectly fine” enough to keep a show on the air?
    • 43 Metascore
    • 80 Ken Tucker
    I’ve watched four episodes, and every one of them is hugely entertaining and frequently surprising.
    • 56 Metascore
    • 50 Ken Tucker
    Disenchantment is pretty to look at--the background illustrations are often lovely--but it’s not very funny. The producers have said the show is filled with a budding mythology and lots of Easter eggs for the fan base it hopes to build, so if you’re into that kind of detail-oriented viewing, this may be a show for you.
    • 66 Metascore
    • 70 Ken Tucker
    There are definitely elements of hocus-pocus and holy cow in Castle Rock, as well as scenes of nicely disturbing violence. In other words, just what you both expect and want from a King-based product. What there isn’t, alas, is a lot of forward momentum. The storytelling is pretty logy, taking a long time to make a few points. ... The show has a strong cast. Spacek is superb as Henry’s stepmom. ... Handsomely gloomy, 10-episode project.
    • 78 Metascore
    • 100 Ken Tucker
    Sharp Objects turns out to be everything you might have wanted. And also some things you didn’t know you wanted: This eight-part HBO miniseries is a scary thriller, a Southern gothic melodrama, a serial-killer murder mystery, and a dual portrait of motherhood and sisterhood--all of it combined with a sleek ease that rarely lets any effort show.
    • 66 Metascore
    • 80 Ken Tucker
    There are subplots about Plum’s job in a Brooklyn coffee shop and a police detective investigating the militant group’s crimes that, two episodes in, don’t seem particularly promising. But Nash’s performance is awfully good, and Margulies manages to bring her own stamp to a role that seems inspired by Meryl Streep’s in The Devil Wears Prada.
    • 80 Metascore
    • 90 Ken Tucker
    Turns out, Camberbatch and company have done quite well. ... Patrick Melrose gives you the star at his Cumberbatchiest, while also exposing an audience that might otherwise never know them to the superlative St. Aubyn books.
    • 86 Metascore
    • 80 Ken Tucker
    Dowd’s performance is absolutely essential to keeping this show from tipping over into excessive self-seriousness. You’ll notice that whenever Handmaid’s Tale shifts away from Lydia and Offred, and back to the Canadian border and the subplot involving Offred’s husband, Luke (O.T. Fagbenle), and Moira (Samira Wiley), the show becomes deadly drab and dull.
    • 95 Metascore
    • 90 Ken Tucker
    It’s that rare long documentary about a tabloid crime that becomes a deep exploration of death, the justice system, and the very process of making a documentary film.
    • 84 Metascore
    • 80 Ken Tucker
    The voice-over commentary that’s most valuable comes from musicians such as Bruce Springsteen and Tom Petty, who deeply understand Presley’s music and motivations, and critics who’ve thought long and hard about Elvis, like Nik Cohn and writer turned producer Jon Landau. ... You’ll have your own moments of discovery. Elvis works his way on everyone individually.
    • 76 Metascore
    • 80 Ken Tucker
    Westworld, with its florid dialogue and languid self-seriousness, isn’t as much fun as Twin Peaks was. But it’s also easy to see why Westworld is the much more popular show. It’s tapping in to currents in our culture, our feelings that the world has become a far more confusing place, with power struggles that threaten any possible unity or peace. We can’t saddle up and shoot-’em-up, but we can escape and watch others do it for us on Sunday nights.
    • 58 Metascore
    • 30 Ken Tucker
    From Batman (’60s camp classic became morose Dark Knight movies) to Battlestar Galactica (bad utopian ’70s sci-fi became good dystopian sci-fi), the idea is to complicate the original premise and go for a realism signified by a somber tone and a cynical, knowing air. Knowing this, the new version of Lost in Space seems to be trying to have it both ways, and loses in the process. ... After checking out the first few episodes of the Netflix series, I found myself wishing [Matt] LeBlanc would rocket-ship in for a cameo.

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