For 23 reviews, this critic has graded:
  • 73% higher than the average critic
  • 4% same as the average critic
  • 23% lower than the average critic
On average, this critic grades 8.2 points higher than other critics. (0-100 point scale)

Shane Ryan's Scores

Average review score: 77
Highest review score: 97 Players (2022): Season 1
Lowest review score: 50 The Serpent: Season 1
Score distribution:
  1. Positive: 18 out of 23
  2. Negative: 0 out of 23
23 tv reviews
    • 80 Metascore
    • 97 Shane Ryan
    It’s spectacular. ... It’s funny as hell, which is no surprise, but somehow that all feels less important than the gripping narrative of the team.
    • 80 Metascore
    • 87 Shane Ryan
    From the gorgeous, stark southwestern setting to the mystery to the main characters to the hint of dark magic, everything works to heighten the drama and keep the action compelling despite a comfortable pace that matches the ‘70s aesthetic.
    • 91 Metascore
    • 97 Shane Ryan
    Bitingly funny, searingly sad, and fully educational—how can you beat that combination? If you’re like me, you’ll blaze through the seven episodes and find yourself wishing for more. Perhaps what we should wish for, instead, is that this series serves as a blueprint. If you want to entertain, raise awareness, and create a piece of lasting art while you’re there, look no further: this is how it’s done.
    • 60 Metascore
    • 75 Shane Ryan
    It was so engaging, at times, that my own critical brain was left behind in the excitement. If the visceral thrill wears off a little too quickly, and leaves you pondering the question of “what’s missing here?”, that doesn’t quite take away the initial achievement, the performances, and the sense that on some level, this show does justice to the bizarre, thrilling ascent of a band whose influence outstripped its talent by country miles.
    • 66 Metascore
    • 85 Shane Ryan
    Night Sky is one that works. It’s a tribute to the synchronicity between the depth of the unsolved mystery and the similar depth of the two principal actors.
    • 80 Metascore
    • 50 Shane Ryan
    Firth and Collette are “good,” I guess, and so is the rest of the cast, from Michael Stuhlbarg as the defense attorney David Rudolf to Sophie Turner as Margaret Ratliff, but there is just nothing here to draw interest, much less sustain it, and good actors with no material are like jugglers having to pantomime the balls. Impressive, but only for about 10 seconds. In two words, this is dull fare.
    • 63 Metascore
    • 70 Shane Ryan
    They Call Me Magic is slickly made but totally unambitious, and the story is accordingly shallow. Wearing that other hat, though, the childlike hat of someone who came of age just barely after Magic’s heyday, to be able to see him in action, to watch the rivalries play out, and to learn about his and the NBA’s ascent just before Michael Jordan launched them to the stratosphere—this is never anything less than a familiar thrill.
    • 75 Metascore
    • 79 Shane Ryan
    You’ll spend some time wondering exactly what you’re watching, but like a foreigner visiting a new city—or a city like Tokyo—you’ll be rewarded for a bit of patience, an open mind, and a willingness to explore.
    • 78 Metascore
    • 95 Shane Ryan
    Slow Horses manages the incredible task of being a human redemption story, a genuinely funny comedy, and above all, a terrific spy saga.
    • 65 Metascore
    • 75 Shane Ryan
    So, yes, you’ll have fun watching WeCrashed, even if the rhythms of the story are a little cliched.
    • 52 Metascore
    • 57 Shane Ryan
    It’s a show where the first episode is by far the best, because you can’t quite see the limits of their ambition yet. None of it quite makes sense, and while none of it is explicitly terrible, it’s not captivating either.
    • 70 Metascore
    • 73 Shane Ryan
    To view Vikings: Valhalla as targeting the spirit of the times rather than to-the-letter of the times is to enjoy on its own terms, and its own terms are ultimately fair. Maybe they keep the show from being truly great, but in terms of pure entertainment and getting you to click that “next episode” button, everything here works perfectly.
    • 83 Metascore
    • 81 Shane Ryan
    Severance does not suck, though it takes about an episode and change to eventually transcend what had seemed like hard limits on viewer engagement. Part of the solution lies in the solid, vaguely sci-fi premise
    • tbd Metascore
    • 96 Shane Ryan
    The legacy of the fourth season will be the extreme artistic courage it took to undo the spell of the Ciro-Genny pairing, and the facility with which they navigated the brave new world in its absence. That’s the sign of a show with true vision, and it opens up every possibility.
    • 72 Metascore
    • 77 Shane Ryan
    The dialogue can ramble on to redundancy—this show is fond of the patient stump speech—and the theatrical sensibilities can slip into a kind of staginess, but Aduba’s presence makes something worthwhile out of the minimalistic structure.
    • tbd Metascore
    • 78 Shane Ryan
    Eminently watchable. Annoying, funny, treacly, poignant; it’s all here.
    • 72 Metascore
    • 88 Shane Ryan
    Fielding Scott is a terrific character, the writing is crisp and intelligent, and it’s a very welcome addition to a genre that has been beset, recently, with a series of duds.
    • 55 Metascore
    • 58 Shane Ryan
    Aside from Theroux, it’s one of those shows where nothing is really bad, but nothing is quite spectacular either. It’s slickly made and the acting is fine… even though, unlike the resplendent cast from The Leftovers, everyone here pales to Theroux.
    • 81 Metascore
    • 84 Shane Ryan
    Mare stands out for its realistic depictions of this strength, highlighting not just the impressive resilience of its women, but the ways in which the need for this resilience takes its toll, both over time and in harsh, shattering moments.
    • 59 Metascore
    • 50 Shane Ryan
    The longer you watch this show, the more you’ll understand their plight—the thing you want is almost there, over and over, but then the scene changes, the plot shifts, and you’re back in the frozen ennui of a show that will never deliver that decisive, salutary kick.
    • 82 Metascore
    • 95 Shane Ryan
    So, yes, Beartown works as an athletic drama, too. This ingredient and all others cohere seamlessly, and you’re left with a show that transcends noir even as it elevates it.
    • tbd Metascore
    • 78 Shane Ryan
    The performances are solid—Katharine O’Donnelly as the doctor and Alexandre Willaume as Johan, the man forced to investigate the crimes, are particularly good—the setting is both expansive and claustrophobic, and the isolation of the South Pole makes for a tremendous murder cauldron. It hits the right notes, at least broadly, and as far as watchability; I blazed through six episodes in three days.
    • 70 Metascore
    • 52 Shane Ryan
    After a promising first half hour, the writers basically give up any pretense of constructing a good narrative, and the show slips into sanguinary dreck. The really offensive part here isn’t the violence. It doesn’t take long to understand that rather than using it to illustrate a point about the nature of the world, as the truly great shows do, the creators just seem to get off on the ugly depictions.

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