For 238 reviews, this critic has graded:
  • 54% higher than the average critic
  • 5% same as the average critic
  • 41% lower than the average critic
On average, this critic grades 0.5 points lower than other critics. (0-100 point scale)

Tom Long's Scores

Average review score: 68
Highest review score: 100 Run (2020): Season 1
Lowest review score: 20 George Lopez: Season 1
Score distribution:
  1. Negative: 17 out of 238
238 tv reviews
    • 40 Metascore
    • 67 Tom Long
    Stars Rose Leslie and Theo James have an easygoing bicker-banter chemistry that lets this fantasy rom-com slide past its many ridiculous and overtly sentimental moments. No, it’s not a show for the ages, but it works as a ray of empty-headed spring-summer sunny optimism.
    • 65 Metascore
    • 83 Tom Long
    Kirby's nobody's girlfriend and even if she is constantly on the verge, she perseveres. Good stuff.
    • 84 Metascore
    • 67 Tom Long
    “City” is based on a nonfiction book by Justin Fenton and somewhat weighed down by its solemn intent. It doesn’t have time for humor and it doesn’t have the space for subtlety. Too many scenes are plain explanatory and grim business simply leads to more grim business. Still, Simon has always excelled at capturing specific cultures and their contradictions.
    • 60 Metascore
    • 25 Tom Long
    “Outer Range” is a complete mess: Senseless, pretentious, purposely obscure and wasteful.
    • 70 Metascore
    • 67 Tom Long
    While still elaborate, feels a bit slight, tepid and drawn-out compared to the first season. For many it won’t matter — look at those gowns! But let’s be frank: Next season, turn up the heat.
    • 52 Metascore
    • 42 Tom Long
    verybody apparently abandons their jobs without explanation, little irritants that add up, making for a sloppy and fairly obvious story. What’s odd is that so much talent — the fine young actress Jessica Barden plays an earlier version of Laura — is involved in what is basically this week’s content.
    • 68 Metascore
    • 91 Tom Long
    “Winning Time” is an Adam McKay (“Don’t Look Up,” “The Big Short,” “Anchorman”) production and it’s a rowdy mix of quick cuts, famous names, salty scenes and frenetic energy. The casting is just delicious. ... This one’s got a lot of bounce in it. Again, Big fun.
    • 83 Metascore
    • 83 Tom Long
    Blessed with a sharp cast that includes John Turturro and Christopher Walken as senior innies, “Severance,” which is produced and mostly directed by Ben Stiller, manages to adeptly juggle the grim and the giggly (melon ball party, anyone?). More importantly, it never fails to entertain. In the end it leaves you begging for more. Always a good sign.
    • 57 Metascore
    • 67 Tom Long
    Rhimes brings in familiar faces from other Shondaland shows, travels to exotic places, has Anna strut about in all manner of glitzy outfits — Anna loves to shop — and generally offers up solid modern TV entertainment. But a tighter, more succinct work would have lived up to Garner’s performance.
    • 72 Metascore
    • 50 Tom Long
    “The Afterparty” runs in too many directions at once and as a result never gets anywhere in particular.
    • 68 Metascore
    • 67 Tom Long
    Baranski is a goddess of acerbic condescension, but that can only go so far, and Coon’s quest to become as big a snob as her neighbors doesn’t exactly qualify as inspirational. Still, it sparkles and is highly watchable.
    • 74 Metascore
    • 100 Tom Long
    Creator Sam Levinson always pushes further than most, shoving the desperation and disillusionment of a young and apparently mostly hopeless generation right in front of the camera. It’s strong stuff. It’s meant to be. “Euphoria” is its own kind of twisted high.
    • 68 Metascore
    • 75 Tom Long
    It’s “Veep” at a car company. You could do worse. The cast is strong and the characters become clear in the opening episodes. ... Early episodes are a bit loose, but creator Justin Sptizer knows workplace comedies.
    • 69 Metascore
    • 50 Tom Long
    Cavill remains fine as Geralt, with his absurd physique and long white hair. He has mastered the art of the humorous grunt and it’s still fun to watch him handily slaughter dozens of men at a time or take on some comic-book looking creature. But there was an audacity to this show’s first season that now seems buried beneath plot complications.
    • 79 Metascore
    • 83 Tom Long
    Mostly it’s a showcase for Colman, for that endlessly expressive face and her perfect line readings, for the humanity she draws on so easily. Watch it and marvel.
    • 74 Metascore
    • 83 Tom Long
    A quick six-episode arc that’s fittingly preposterous and fully satisfying.
    • 47 Metascore
    • 50 Tom Long
    John Cho deserves a better show. Not that “Cowboy Bebop” is awful. It isn’t. It’s just typical. ... It also doesn’t help that the dialogue is uneven and stilted at times. Smooth talking characters need to talk smoothly.
    • 61 Metascore
    • 33 Tom Long
    It doesn’t help that any dramatic tension is undercut by the first episode, which essentially gives away the entire plot. “The Shrink Next Door” is the dramatic equivalent of watching someone pull the wings off a fly.
    • 71 Metascore
    • 67 Tom Long
    When the dramatic scenes work, especially in the opening episode directed by Duvernay, there’s a real family feel. But later episodes can come off too earnest and scripted, veering toward the afterschool special feel of yore. ... But this series is about spirit and perseverance and cultural chasms and race. It’s the sort of thing that should be shown in schools and probably will be, to the benefit of all.
    • 51 Metascore
    • 42 Tom Long
    Maybe all these different storylines are going to meet up, maybe they’re all going to keep wandering around. It will take great patience to find out which.
    • 92 Metascore
    • 58 Tom Long
    The third season of “Succession” spends an awful lot of time waiting for something to happen and in the seven episodes (out of nine) offered for review nothing much does.
    • 82 Metascore
    • 75 Tom Long
    “Maid” shines a warm, personal light on all this while telling a story that’s enlightening and entertaining. It’s never really heavy-handed but it can be exhausting. It should be.
    • 62 Metascore
    • 67 Tom Long
    “Foundation” jumps back and forth in time and from one world to another as it breaks into myriad storylines. It does initially seem a bit too enthralled with bloated world-building but things pick up as they splinter.
    • 75 Metascore
    • 91 Tom Long
    “Midnight Mass” moves from slow-burn to absolute fireball. Creepy becomes gory and then goes bonkers. The final two episodes of this seven-episode show are both hard to watch and impossible not to watch.
    • 60 Metascore
    • 75 Tom Long
    It takes some soapy turns in season two, and Carell’s character can seem stranded in limbo, but this is big starry television about big starry television that dares you to look away. Tune in.
    • tbd Metascore
    • 75 Tom Long
    Obviously all four friends are constantly on the verge of disaster because, well, who isn’t? That Delpy and Landeau spin their stories with a mix of humanity and absurdity is, again, both impressive and righteously French. C’est bon.
    • 47 Metascore
    • 75 Tom Long
    It holds together as myriad characters come and go thanks to strong turns by Kazan as a sister driven to find out the truth about her brother, and Gabriel, as a wife who finds her reality in tatters. They are the anchors who keep this dervish series grounded.
    • 73 Metascore
    • 75 Tom Long
    Creators Amanda Peet and Annie Wyman keep the show loose enough for cute side storylines — David Duchovny! — but never let things wander aimlessly. With six quick episodes they offer a glimpse at the absurdities of modern academic life and cultural sensitivities, while also dancing on romantic comedy notes. Nice.
    • 62 Metascore
    • 75 Tom Long
    The tone here is David Lynch meets David Cronenberg meets Quentin Tarantino, moody and heightened in the early episodes, then ever more weird and gory. It all hinges on Salazar and treatises may be written on her huge, expressive eyes, which jump between angered, exhausted, erotic and (repeatedly) horrified.
    • 59 Metascore
    • 83 Tom Long
    The unexpected moves keep things feeling shinier than they are, and that’s the magic balancing act “Mr. Corman” attempts. Life may be disappointing but it’s also amusing and sweet and wonderfully odd. “Mr. Corman” dares to be honest.

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