Troy Patterson

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For 281 reviews, this critic has graded:
  • 38% higher than the average critic
  • 2% same as the average critic
  • 60% lower than the average critic
On average, this critic grades 10.7 points lower than other critics. (0-100 point scale)

Troy Patterson's Scores

Average review score: 57
Highest review score: 100 Planet Earth: Blue Planet II
Lowest review score: 0 Roseanne's Nuts: Season 1
Score distribution:
  1. Negative: 46 out of 281
281 tv reviews
    • 80 Metascore
    • 70 Troy Patterson
    Onscreen, Cumberbatch (playing scenes directed by Edward Berger and written by David Nicholls) compellingly froths, hops, and slithers with junk sickness, giggles with mania, nods off, twitches on, and writhes in revulsion. But the actor’s dazzle distracts from the character’s grotesque situation rather than illuminating it. The part is a showcase, and the performance is showy; it left me acutely aware of watching something extremely actorly.
    • 58 Metascore
    • 60 Troy Patterson
    Sight but sprightly. ... Motherland ’s jokes about competitive parenting are safe and tepid, but they establish the context of Julia’s exertions.
    • 76 Metascore
    • 50 Troy Patterson
    Maeve supplies rare flashes of wit to a series that often equates humorlessness with seriousness of purpose. ... A low opinion of humankind may be a prerequisite to full enjoyment of the series. The viewer, less confused by the weave of time lines, is on firmer footing this season, but the show continues to obscure motivation to the point of making motivation irrelevant.
    • 58 Metascore
    • 50 Troy Patterson
    Posey plays the role with a gravity that encourages the show to orbit her, eccentrically, whenever she’s in view. The dynamic exemplifies the awkwardness of this muddled update. Charging in several directions at once, it asks the viewer to imagine efforts to secure a proud future for humankind, but it seems most vital when painting depraved schemes to survive.
    • 65 Metascore
    • 50 Troy Patterson
    One moment, it seems eager to address the culture shock of a fish returned to changed waters; the next, it shies away from trafficking in the clichés that a critique of twenty-first-century Kings County may necessitate. Plots with the potential to flower into journeys instead wither into mere capers; intriguing possibilities open doors that are simply left ajar.
    • 83 Metascore
    • 80 Troy Patterson
    Barry does get good comedic mileage from juxtaposing the exotica of the contract-killer life style with the mundane flavor of the straight world. Yet the comedic ambitions of Barry--which Hader co-created with Alec Berg--are large enough to accommodate deathly seriousness.
    • tbd Metascore
    • 70 Troy Patterson
    The contestants are hugely likable, despite occasional production missteps that depict otherwise.
    • 73 Metascore
    • 70 Troy Patterson
    The world now seems less binary, and the show has grown more limber and less campy.
    • 72 Metascore
    • 80 Troy Patterson
    When the moral arguments of Black Mirror grow strident, and overbearing klaxons ring about corporate surveillance states, an episode can weigh like a ponderous cyberpunk parable, and the effect is off-putting. Still, the series’s lively futurist premises and tight production design combine to supply shocks of recognition.
    • 97 Metascore
    • 100 Troy Patterson
    The seven-episode series flexes its broadcaster’s mastery of a genre that it created. Over excellent footage shot on a circumglobal photo safari, the venerable narrator David Attenborough orates zoological narratives as if delivering a state-of-nature address.
    • 79 Metascore
    • 70 Troy Patterson
    The violence does not rank as gratuitous because, as an action show, Black Lightning very much needs it. The hero’s own fight scenes can feel restrained, even cramped, perhaps because he devotes a lot of energy to anguishing about violence begetting further violence, and also to fretting that his return to duty will jeopardize a chance to reconcile with his ex-wife.
    • 79 Metascore
    • 80 Troy Patterson
    “All the world is not, of course, a stage, but the crucial ways in which it isn’t are not easy to specify.” The writers (led by Penhall) and the directors (who include David Fincher) of “Mindhunter” play with this and related ideas about masks, frames, screens, and true selves in a distinct tone. As the show flows from mode to mode--slow-burn horror, arch workplace comedy, buddy-cop road movie--it returns its attention to performers, and to the daily problem of giving an audience what it wants.
    • 64 Metascore
    • 80 Troy Patterson
    Three episodes in, I am charmed by Shaw’s way of sketching her character, Bridgette Bird, in brazen strokes of absurdity and delicate gestures of woe. ... Shaw proves herself a fantastically nimble performer, by turns tough and impish.
    • 78 Metascore
    • 80 Troy Patterson
    It continues to hum along wonderfully as an existentialist noir on the millennial tip. Or call it a character study in the form of a comedic thriller that’s geared to provoke anxious giggles.
    • 78 Metascore
    • 80 Troy Patterson
    As with last year’s introductory season, a Spielbergian sense of wonder and a John Hughes-like knack for underage anthropology invigorate the show’s approach to scary science-fiction.
    • 59 Metascore
    • 70 Troy Patterson
    What makes the show something better than a guilty pleasure is the way that, after introducing its subjects as borderline-reprehensible cartoons, it allows them flickers of self-awareness or shows them trying their damnedest to be terrific parents.
    • 72 Metascore
    • 40 Troy Patterson
    Vaughan, writing and directing these lines, is hauling the Stephen King brand into risky territory. The risk is boredom—the half-puzzled, half-irritated sort of boredom elicited by later seasons of Lost.
    • 60 Metascore
    • 30 Troy Patterson
    Phil Spector--potentially a camp classic about self-aggrandizement and megalomania--is simply a self-satisfied vanity project.
    • 87 Metascore
    • 70 Troy Patterson
    Like Peter Jackson’s Heavenly Creatures, the paranoid screenplays of Andrew Niccol, and the absurdist horror of Black Sheep (an ovine analog of The Birds), it gets beneath the skin by examining the state of isolation at the bottom of the world.
    • 76 Metascore
    • 80 Troy Patterson
    Too jaded to lament the backroom maneuvering of politicians, the creators of House of Cards instead take that state of affairs as a given, tart it up, and fashion a wry piece of escapism--a backstabbing procedural delivered in a sophisticated style.
    • 62 Metascore
    • 60 Troy Patterson
    When the show talks about crime literature, it's quite dull, but when it shows instead of tells, it's something to see.
    • tbd Metascore
    • 40 Troy Patterson
    To consider both the larger range of hillbilly defamation and the broader context of reality-show idiocy is to observe that these kids behave no more or less idiotically than do their coastal cousins-and even have roughly the same number of teeth per capita! Buckwild looks, on the hixsploitation score, tame.
    • 77 Metascore
    • 90 Troy Patterson
    Using new audio-only interviews with the Stones as invisible tape, [director Brett Morgen] splices 50 years of footage into a 110-minute education, remixing the work of earlier filmmakers with splendid editing and a critical eye.
    • 57 Metascore
    • 40 Troy Patterson
    A document of cruel self-delusions, an index of unusual realities, virtually a postscript to the body of Western literature about romantic love, and an extraordinarily fine opportunity to exult in the suffering of your fellow human beings, Catfish is a TV show.
    • 65 Metascore
    • 70 Troy Patterson
    Aided by snappy editing, these people express feelings of tedium, frustration, and contempt in a generally amusing fashion, and the series succeeds as light comedy.
    • 33 Metascore
    • 70 Troy Patterson
    Despite and because of its many points of disconnection from the reality of the industry it purports to illuminate, I liked it and quite enjoyed biting my thumb at its cast (like a Capulet servant) while watching the pilot.
    • 66 Metascore
    • 60 Troy Patterson
    This HBO original [is] clean and smart and dull.
    • tbd Metascore
    • 80 Troy Patterson
    The actors are loose, but the writing, overseen by series creator David Caspe, is tight.
    • 65 Metascore
    • 70 Troy Patterson
    Less scary than freaky, it's deliberately unhinged-light horror about low camp, a showcase for scenery chewing and giddy blasphemy, an exploitation chamber piece.
    • 85 Metascore
    • 80 Troy Patterson
    Nashville feels fresh because it catches a different tone. The few ironic winks it makes do not disfigure its straight face for quality pulp, nor does the sincerity harden into hokum.

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