For 14 reviews, this critic has graded:
  • 14% higher than the average critic
  • 0% same as the average critic
  • 86% lower than the average critic
On average, this critic grades 4.8 points lower than other critics. (0-100 point scale)

Sam Adams' Scores

Average review score: 64
Highest review score: 90 America to Me: Season 1
Lowest review score: 30 Hunters (2020): Season 1
Score distribution:
  1. Positive: 7 out of 14
  2. Negative: 1 out of 14
14 tv reviews
    • 75 Metascore
    • 80 Sam Adams
    Tiger King is genuinely compulsive viewing, although those who are sensitive to depictions of animal abuse should be warned that while we don’t see that much of it, it’s sometimes described in graphic detail. ... As with a lot of compulsions, indulging it may not leave you feeling satisfied as much as spent, with a vague feeling of having done something that’s not entirely healthy.
    • 55 Metascore
    • 30 Sam Adams
    Meyer’s group is filled out with a collection of second- and third-hand caricatures, not types taken from movies but types taken from movies about movies. ... Breaking the fourth wall is meant to be a moment of confrontation, but by that point, the show has made it all but impossible for anyone to see themselves in its overwrought depictions.
    • 70 Metascore
    • 40 Sam Adams
    39 minutes of mediocre Star Wars. The Mandalorian, which was written by Jon Favreau and directed by The Clone Wars and Star Wars Rebels veteran Dave Filoni, looks great—or at least very much like something on which Disney spent one-eighth of the eight-episode season’s $100 million budget. But it feels uninspired from its very first scene.
    • 70 Metascore
    • 50 Sam Adams
    Living With Yourself is a slight, not entirely coherent series. After watching all four hours, I’m not sure what to take away from the experience. There are complications introduced and then dispensed with for no reason beyond keeping the binge-watch going. But there are lovely moments, too, and sharp observations about marriage.
    • 72 Metascore
    • 50 Sam Adams
    The cutesy signifiers are there—the geometric neon patterns on standard-issue mall wear, a running gag about New Coke—but the rest has gotten sloppy. The dialogue is awash in expressions that weren’t common 10 years ago, let alone 35. ... If there’s nothing as painful as Season 2’s “punk” episode, there’s nothing in Stranger Things’ third season as memorable either.
    • 86 Metascore
    • 80 Sam Adams
    Deadwood ends too quickly, and not just because I was reluctant to leave its world behind once more. ... The show was exceptionally good at making characters feel like they lived full lives when they weren’t on screen, suggesting avenues it could have explored if there’d only been time.
    • 88 Metascore
    • 80 Sam Adams
    Along the way to its third season, which premieres Wednesday night, the series’ humor grew more attenuated, so its episodes started to feel less like extended Saturday Night Live sketches and more like covert conceptual art projects, where the joke, so to speak, is that such meticulously fetishistic re-creations exist in the first place.
    • 66 Metascore
    • 60 Sam Adams
    Despite Fyre Fraud’s unique access, the insights into McFarland tend to come from other sources. As far as Billy McFarland is concerned, his mistake was that he dreamed too big and got in over his head. ... Neither movie is perfect, and each underlines the other’s flaws, but if you’re watching one, watch Fyre, which is both less self-righteous and less inclined to punctuate its insights with Family Guy clips.
    • 96 Metascore
    • 80 Sam Adams
    The show has radically reworked itself from season to season, and even within them, but its underlying architecture of people striving for goodness and falling short hasn’t changed, and it can’t. Instead of having to work around that limitation, The Good Place has made it its central theme. Unlike most network sitcoms, The Good Place allows its characters to change.
    • 76 Metascore
    • 70 Sam Adams
    American Vandal’s second season has bigger ideas than its first, and the turn toward wistfulness in its final episode feels less forced this time around. But apart from Kevin and DeMarcus Tillman (Melvin Gregg), a black star athlete bused into wealthy St Bernadine’s from a poor neighborhood, Hoop Dreams–style, few of its characters are as well-drawn, and the use of more experienced actors--cast members have recurred on Boardwalk Empire, Sweet/Vicious, UnReal, and L.A. Law--robs it of some of the first season’s amateur authenticity.
    • 96 Metascore
    • 90 Sam Adams
    Even in a series this expansive, you keep wishing you could spend more time with more people, but its scope allows James and his team to show both victories and defeats fade into the past, how fragile and yet how resilient its protagonists can be.
    • 56 Metascore
    • 40 Sam Adams
    There’s so much history and texture that could be mined for comic potential and hasn’t really been touched since Monty Python and the Holy Grail, but instead the show inhabits a sketchy, ill-defined universe--and casts a spell whose effectiveness has long since started wearing off.
    • 78 Metascore
    • 80 Sam Adams
    The show is so dense with verbal, visual, and structural jokes, in fact, that it resists binge-watching; after an episode or two, you stop laughing and start just murmuring “funny” like a road-weary comedian. Its glossy surface and ingratiating performances make the show go down easy, but the best parts are the ones that stick in your craw.
    • 82 Metascore
    • 60 Sam Adams
    It’s handsomely shot, and smartly acted, and ingeniously constructed enough to suggest there’s something mind-blowing lurking at its center. But as Hawley pushes from jazzed-up origin story to psychodrama, it starts to feel like a show with a Rubik’s cube where its heart should be.

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