For 116 reviews, this critic has graded:
  • 57% higher than the average critic
  • 3% same as the average critic
  • 40% lower than the average critic
On average, this critic grades 1.3 points higher than other critics. (0-100 point scale)

Kevin Fallon's Scores

Average review score: 69
Highest review score: 100 Killing Eve: Season 2
Lowest review score: 10 The Four: Battle for Stardom: Season 1
Score distribution:
  1. Positive: 79 out of 116
  2. Negative: 9 out of 116
116 tv reviews
    • 82 Metascore
    • 80 Kevin Fallon
    Without the murder-mystery focus, the plot meanders. Whether they will get caught in their lies is the driving question here. That, it turns out, is not entirely interesting. Luckily, these women and these performances are so much so that it doesn’t really matter.
    • 96 Metascore
    • 100 Kevin Fallon
    As great as season one was, season two is just about perfect. You could even call it watching it a religious experience.
    • 68 Metascore
    • 60 Kevin Fallon
    The series is certainly competent, one collaboration that changed the face of American theater telling the story of another. But you’re looking for more of a Fosse shoulder roll, the extra tap in the time step, the unexpected contortion in the jazz number--the kinds of quirks that made Fosse and Verdon singular and unique. Their relationship was anything but by the book, and you wish this dramatization wasn’t afraid to go a little more off-script.
    • 87 Metascore
    • 100 Kevin Fallon
    Perfect is a strong word, but Killing Eve is a series that merits those. ... Everything that worked so well in season one is back in essentially the same form, and it’s working again.
    • 94 Metascore
    • 100 Kevin Fallon
    We get little snapshots of moments in Sam’s life, yet each glimpse is so fully realized and emotionally rich that you see whole story lines immediately—whole lifetimes, really.
    • 36 Metascore
    • 40 Kevin Fallon
    It all started as an admirably bizarre reality series that revelled in its unabashed spectacle and lunacy. But it became, somehow, a bit of a bore.
    • 61 Metascore
    • 50 Kevin Fallon
    The interactive aspect of the viewing experience is seamless, and each adventure manages to be tonally unique and narratively distinct. But it turns out that when television starts to become a video game, the integrity of the story is muddied by the thrill of choice and control.
    • 85 Metascore
    • 90 Kevin Fallon
    There’s such a strong rhythm to the comedy it’s impossible not to fall in step, even in less successful story arcs. The scenes in Paris and, later, the Catskills, carefully tread a line between dazzling and swooning, and twee and overly cutesy. Your mood will likely determine which direction it wobbles. But when it executes, it’s phenomenal.
    • 74 Metascore
    • 70 Kevin Fallon
    The early run of episodes seems unsure where it fits between the winking, sardonic tone of Scream Queens or American Horror Story: Coven and the soapiness and melodrama of Riverdale. (And, like too many streaming series, episodes could be half as long and the narrative could move twice as fast.) But fear not. A creative light bulb seems to turn on as the season hits its final stretch. If only an actual one would turn on, too.
    • 62 Metascore
    • 50 Kevin Fallon
    The series still suffers from the same issues it has in past seasons. For a show with as many dastardly, dark, thrilling subplots--more than can even really be kept track of--it’s ever-confusing that it can seem to move so slowly. Robin Wright is characteristically hypnotizing in the lead, regally stalking the Oval Office as she cleans up messes without a hair moving out of place.
    • 75 Metascore
    • 80 Kevin Fallon
    In what’s been a woefully bland fall TV season, especially for network comedy, it’s frankly a delight to watch a sitcom this solid, with a cast of people you love this much, all executing so well, and, we hope at some point, not have to couch their praise in caveats about the Roseanne of it all.
    • tbd Metascore
    • 90 Kevin Fallon
    It has a strong sense of its identity, why people are tuning in, and it delivers that without pandering or patronizing. That’s a hard thing to do, and, for all the sledgehammer emotional twists the show is known for, proves it delicately.
    • 76 Metascore
    • 80 Kevin Fallon
    Few shows are laid out this intricately or methodically, and the callbacks as the series progresses are gratifying and worth the effort of paying attention. This goes for Fukunaga’s winking, sumptuous direction; Stone and Hill’s challenging, ultimately miraculous performances; and Somerville’s tangled scripts. The process of uncoiling the knots might piss you off, but achieving it in the end feels like an accomplishment. Even if the achievement ends up being not as profound as you thought it might be.
    • 83 Metascore
    • 100 Kevin Fallon
    Sorry For Your Loss is a gem of a show. With a cast this impressive--in Olsen, an Avenger; in Tran, a Star Wars alum; in McTeer, a renowned Oscar nominee--a series this well-executed would ordinarily be a marquee entry in the fall TV season.
    • 77 Metascore
    • 100 Kevin Fallon
    Forever is a wonderful, truly special show. ... Few have made us stop completely, let alone deeply reconsider our thoughts about, well... life. It was a thrilling experience, which is strange for a show this quiet and meditative.
    • 63 Metascore
    • 80 Kevin Fallon
    Vignettes of people reacting to the world’s end carried more emotional heft than Horror Story is known for, and the depravity that follows doomsday is, as depicted here, suitably chilling. Yet at the same time, we’re watching Leslie Grossman shriek hilariously entitled freakouts and Joan Collins purr sassy one-liners while a Ryan Murphy-approved troupe of impeccably bone-structured twinks preen in fabulous clothes (and occasionally without!). It’s fun!
    • 86 Metascore
    • 90 Kevin Fallon
    Female characters are now taking center stage, both in the show and in their own lives. Seizing that agency doesn’t come easily, of course, but it’s their struggle for it and even just their awakening to its possibility that it is gratifying to watch. ... The empowerment of these women makes the show’s study of masculinity all the richer, complicating the pimp characters and the work of their performers. ... A highlight of this fall’s dizzying TV lineup.
    • 68 Metascore
    • 80 Kevin Fallon
    The personal toll the demand of celebrity takes on someone desperate for real connection. An audience’s insistence that the connection they have to someone on TV is real, and can’t be shattered. They are provocative, meta conversations raised especially by having Carrey in this role, and they elevate the show even as its quirkier dramedy subthreads begin to run amok.
    • 62 Metascore
    • 50 Kevin Fallon
    It’s shot beautifully, is occasionally engagingly weird, and is well-acted by Penn and McElhone, especially. The issue is that it’s just fine. It’s the kind of show you could quickly watch every episode of--Hulu will release all eight episodes at once--and then completely forget you ever saw. It makes that little of an emotional impression, and does nothing particularly remarkable, revolutionary, or resonant with its storytelling.
    • 66 Metascore
    • 50 Kevin Fallon
    Until it picks up narrative steam almost two-thirds of the way through the season, Jack Ryan is rote television: blandly entertaining.
    • 25 Metascore
    • 20 Kevin Fallon
    Insatiable is a harsh example of the best intentions yielding the worst results. ... Insatiable is unforgivably inelegant as satire. It fails not only to land its purportedly progressive message about body image and weight, but also its storylines tackling sexuality, sexual agency, classism, race, and transgender acceptance.
    • 78 Metascore
    • 90 Kevin Fallon
    Everything Big Little Lies did to embrace, dignify, and elevate the soap opera genre’s female characters and tropes, Sharp Objects does with pulp mystery. ... Elegant, compulsively watchable.
    • 79 Metascore
    • 80 Kevin Fallon
    It’s nice to see people from different walks of life learn to understand each other. But it’s just as beautiful to see members of a community come together to support one of their own who needs them. After two seasons of the new Queer Eye, we’re seeing the revival reach its full potential: being equally skilled at doing both.
    • 67 Metascore
    • 80 Kevin Fallon
    The new revival isn’t perfect, especially in the tone-deaf (and arguably offensive) way in which Tambor’s controversy is mirrored in his character’s, George Sr.’s, story arc. But it also goes a long way to absolve the sins of that first Netflix revival, sins we can forget, but are still a ways away from forgiving. ... Our advice is to just surrender yourself to the constant confusion and instead take pleasure in the clever writing.
    • 49 Metascore
    • 50 Kevin Fallon
    There’s nothing to push the narrative gas pedal in this first half of season two. You’re spending hours and hours watching characters wait for something to happen, for something shocking to come out of the trial. You’re waiting, too. ... This is a show that mostly succeeds at blurring the lines between protagonists and villains, to the point that we’re even forced to sit through the character assassination of Hannah in court and question what we thought we knew about her.
    • 69 Metascore
    • 80 Kevin Fallon
    Extremely funny. ... While the premiere is heavily political, that does die down in subsequent episodes, though the show’s “edginess” doesn’t. We put that in quotes because the renegade way in which the show courted controversy decades ago has now, thanks to the doors it kicked open, become normalized.
    • 60 Metascore
    • 50 Kevin Fallon
    Neither an endorsement nor an indictment, but this reboot so aggressively plays down the middle that it doesn’t seem to be seeking one either way.
    • 73 Metascore
    • 50 Kevin Fallon
    The Queer Eye reboot finds perhaps even more pathos than the original one. The transformation in the premiere episode is a heartwarming hoot. But with a cast of attention-seeking experts who too often steal focus from the proverbial mission at hand, it can be as exhausting and, at times, even as cringe-inducing as some have feared.
    • tbd Metascore
    • 10 Kevin Fallon
    A cacophony of celebrity ego, bombastic production, and misguided cruelty, The Four purports to reinvent the singing-competition TV series for a modern audience and industry but is actually the worst kind of derivative: the kind with the irritating braggadocio of thinking it’s fresh. And, because it bears repeating, it doesn’t even showcase much good singing!
    • 81 Metascore
    • 80 Kevin Fallon
    Ultimately, and in the most absurd (and therefore enticingly watchable) of manners, The End of the F***ing World is a heartwarming romance.

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