For 27 reviews, this critic has graded:
  • 18% higher than the average critic
  • 7% same as the average critic
  • 75% lower than the average critic
On average, this critic grades 15 points lower than other critics. (0-100 point scale)

Lesley Smith's Scores

  • TV
Average review score: 51
Highest review score: 80 Awake: Season 1
Lowest review score: 20 Almost Human: Season 1
Score distribution:
  1. Positive: 8 out of 27
  2. Negative: 7 out of 27
27 tv reviews
    • 82 Metascore
    • 80 Lesley Smith
    Summon your patience and settle in for the long haul. By its end, the series' exploration of how ordinary human fallibility is transformed into shocking human depravity is compellingly inventive.
    • 73 Metascore
    • 80 Lesley Smith
    As it poses existential questions, the show benefits from the casting choice of newcomer Wolk and a supple, low-key naturalism in both performances and direction.
    • 75 Metascore
    • 80 Lesley Smith
    Amid this seeming disorder, Jason Isaacs breathes a wry life into Britten, as a man who slowly feels himself accessing levels of consciousness and perception he never imagined, even as his psychiatrists label them "illness" and his work partners question their relevance.
    • 78 Metascore
    • 80 Lesley Smith
    Even the actors in the smallest roles are three-dimensional, a rich tribute to Britain’s theatrical talent. If these are, as Horowitz claims, the last episodes of Foyle he writes, both he and his longtime actor-collaborators are bowing out on a very high note indeed.
    • 77 Metascore
    • 70 Lesley Smith
    Despite the pleasures of these performances, the series drags. Inside each of Zen's 90-minute episodes lies, one suspects, a crisp hour.
    • 84 Metascore
    • 70 Lesley Smith
    No such show has come even near to Glee's success. Nashville may be the exception, with its clever, even cynical, mix of middle-aged crises and youthful ambitions set in country music's Mecca.
    • 73 Metascore
    • 70 Lesley Smith
    While the mystery genre has a rich history of incisive social commentary animating a compelling investigation, this series struggles to balance an examination of women’s place in post-war Britain and a classic race-against-time mystery.
    • 81 Metascore
    • 60 Lesley Smith
    To viewers new to the franchise, L&O: UK might prove a fine introduction. For dedicated watchers of the original, it might function as a kind of recap of the "best of" episodes from the series' entire life. But for the truly addicted, it will always be a paler, politer, well-bred echo of the Real Thing, better left on the side of the Atlantic where it originated.
    • 59 Metascore
    • 60 Lesley Smith
    If the show has the courage to probe this very contemporary evolution, Abby's tenure at IA might provide grown-up drama for women of an age more often served by sexist sitcoms. And if not, Lifetime may be delivering just another old-fashioned family drama with nothing new to say.
    • 57 Metascore
    • 60 Lesley Smith
    The first episode is not a courageous start, despite good acting from the ensemble cast, generous location shooting, and a quirkily realized context.
    • 58 Metascore
    • 50 Lesley Smith
    Like so many crime novel adaptations, Case Histories leaves the audience with a faint echo of a delightful original, oozing with talent, budget, and location shooting, and almost bereft of compelling content.
    • 66 Metascore
    • 50 Lesley Smith
    Parts of the show seem archaic, more Life on Mars than life in a 21st century police department. Other parts seem careless bricolage.
    • 56 Metascore
    • 50 Lesley Smith
    Despite pacy editing, superb action choreography, and location shooting across Europe, the whole turns out to be yet another re-run of that updated Western, 24, which pits an arrogant outlaw protagonist against friend and foe alike.
    • 64 Metascore
    • 50 Lesley Smith
    Like The Closer, Major Crimes offers utterly predictable crime-solving.
    • 57 Metascore
    • 50 Lesley Smith
    Intelligence might probe these questions more, and so become richer than the latest show about a tortured male genius outsmarting the bad guys. Or it might just settle for flashy graphics, great action scenes, and underused actors looking good.
    • 76 Metascore
    • 50 Lesley Smith
    When so much of the series depends on psychological nuance, the lurch into Hollywood action thriller confrontations is an outright admission of defeat. Sensationalism trumps subtlety once more. Both Luther and Idris Elba deserve so much more.
    • 57 Metascore
    • 40 Lesley Smith
    Unforgettable is a show cobbled together from the once good bits of once good shows.
    • 68 Metascore
    • 40 Lesley Smith
    Some of this talent is visible in the premiere episode's poetic counterbalancing of empty landscapes and claustrophobic casino back-offices, and actors' convincing performances.... When it comes to plotting and scripting, though, Vegas is far less sure-footed.
    • 52 Metascore
    • 30 Lesley Smith
    [Perception is an] inept, and sometimes offensive, drivel, turning serious mental illness into a chic tic and woefully underestimating the intelligence of its audience.
    • 44 Metascore
    • 30 Lesley Smith
    Ironside is an exercise in cynicism, a safety-first raid on the vaults with not a shred of respect for either the its prospective audience.
    • 60 Metascore
    • 30 Lesley Smith
    On the evidence of the first two episodes, Resurrection seems just one more twist on an American obsession with investigating what lies beneath the surfaces of rural or suburban idylls. As a device to tell the same old stories about illicit love affairs, family estrangement, hidden crimes, and the secrets parents keep from children and visa versa, the arbitrary resurrection of the dead seems pretty extreme, and, frankly, a wasted opportunity.
    • 49 Metascore
    • 20 Lesley Smith
    The show's acting offers no respite. Scenes unfold very slowly, as characters talk quickly but pause at the end of each speech, often holding a self-satisfied smirk as if listening to an inaudible laugh track.
    • 63 Metascore
    • 20 Lesley Smith
    Mob City fails to make connections between now and the repercussions of the ‘40s, say, the marginalization of democratic debate, the pathologizing of women’s agency and autonomy, and the hysterical politics of fear and insecurity in an increasingly global economy. These daunting themes remain off screen here, leaving only a series of monotonous conversations and shoot-outs.
    • 62 Metascore
    • 20 Lesley Smith
    If the premise intrigues you, watch or rewatch Blade Runner instead, and offer Almost Human the all-too-human body swerve.