Under The Radar's Scores

For 154 reviews, this publication has graded:
  • 48% higher than the average critic
  • 1% same as the average critic
  • 51% lower than the average critic
On average, this publication grades 3.1 points lower than other critics. (0-100 point scale)
Average TV Show review score: 63
Highest review score: 100 Atlanta: Season 2
Lowest review score: 10 Outsourced: Season 1
Score distribution:
  1. Positive: 87 out of 87
  2. Mixed: 0 out of 87
  3. Negative: 0 out of 87
87 tv reviews
    • 82 Metascore
    • 70 Critic Score
    While turning Backman’s complex novel into a series rather than a film was a smart move, Beartown does run into some issues along the way. The rise of Beartown’s hockey team is important for the context of the story, but the series spends too little time showing how their skill improved. The series relies too heavily on surface-level montages to communicate how this dramatic shift actually happened.
    • 91 Metascore
    • 75 Critic Score
    Even genre-bending as much as it does would normally be a challenge, but It’s A Sin pulls it off through its smart script and its brilliant performances.
    • 78 Metascore
    • 70 Critic Score
    The most common criticisms of Euphoria are its inaccurate portrayals of modern high-schoolers, its complex and confusing plotlines, and Levinson’s constant use of differing experimental filmmaking techniques. All three of those things are at play here, but in this case, where Levinson focuses specifically on a single character, they become more rewarding.
  1. At half-hour each, Cobra Kai is an easy binge that will only make you want more.
    • 77 Metascore
    • 70 Critic Score
    We Are Who We Are’s scope is almost too expansive, but Guadagnino’s gentle direction and subdued script help the audience build a connection to the characters.
    • 68 Metascore
    • 80 Critic Score
    By throwing caution to the frostbiting wind, rather than trudging over former glories, Hawley and co. give TV’s great snow swept saga quirkier characters that cover greater thematic ground. Is it a departure? And is that what makes it great? On both counts: oh yeaaah, you betcha.
  2. You don’t have to be a skater, know anything about skating, or be a Zoomer to enjoy Betty. Virtually flow with the boards on Betty, absorb the scenery and let the sound of the wheels on concrete sooth you.
    • 82 Metascore
    • 60 Critic Score
    Aside from giving these secondary characters more substantive scenery to chew on, our wish list also includes better dialogue for the leads, especially Spector, who spends far too much time reciting thematic exposition. When he does get to speak like a living breathing marginalized minority he’s downright gripping, but show runners Simon and Ed Burns should have more faith that viewers can read between the lines, and ditch the exposition. ... But if this miniseries falls short of those lofty goals, it’ll still be sturdily watchable, thanks to its pristine production value and impassioned acting.
  3. A keen ear is necessary to catch all her slick comments, so many of which are razor-like in their humor. The funny factor spikes in every scene with her parole officer Janice (Jo Martin), who rivals Haggard with her natural comedic delivery and priceless lines.
    • 84 Metascore
    • 70 Critic Score
    Horrifying as it is, Leaving Neverland lacks a bit of nuance, rarely coming at these allegations from any sides other than the subjects. There is footage of Jackson denying initial charges but the movie primarily focuses on Robson and Safechucks stories, which are credible and damning without ever feeling exploitive for the purpose of the documentary.
  4. Shangri-La is not an advertisement for the studio, nor is it a biography on Rubin. It touches on the history of the space, which was built in 1976, featuring some classic footage with Scorsese and The Band, and the titular character for the television show Mr. Ed, who lived in a stable at Shangri-La when on hiatus.
  5. There are a few new characters that are life preservers in this murky swamp of uninteresting plots.
  6. "Meta" is the word used most to describe this strange take on a reboot, which in its very weirdness will have viewers—all of whom will be those that watched the original series when it aired in real-time, none of whom will be fans that aren't the ages of the actors/characters as it will make absolutely no sense to them.
    • 83 Metascore
    • 80 Critic Score
    Ostensibly, Homecoming might appear uneventful and slow but it's deliberately and skillfully languid, ratcheting up tension with purpose and ease.
  7. Charlotte and Jonah don't get enough screen time, which is the shame as they are the main reasons to tune into Ozark, which is otherwise not worth the commitment.
    • 78 Metascore
    • 75 Critic Score
    The layered darkness that inhabits Flynn's work is the primary hurdle here, and fans looking for a captivating mystery with Gone Girl's twists and turns will be disappointed. Fortunately, for those willing to soak in the experience, director Jean-Marc Vallée (Big Little Lies, Dallas Buyers Club) allows for the slow burn required to inhabit Flynn's deeply personal corners.
    • 73 Metascore
    • 75 Critic Score
    Ultimately, Kiri is an admirably executed story of confusion, emotion, and consequence, though not without a handful of fumbles.
    • 67 Metascore
    • 70 Critic Score
    Trust's early episodes show some promise, though it remains to be seen if the story will take off to the level of other FX dramas.
    • 83 Metascore
    • 75 Critic Score
    There's no reinventing the wheel going on here, but as they say, why reinvent something that already works so well.
  8. The big, heartfelt, Dangerous Minds style lines that are geared at squeezing out tears are so cheesy, predictable, and trite, they cause eye-rolls instead.
    • 77 Metascore
    • 75 Critic Score
    Rust, Apatow, and the other writers make an understandable attempt at supporting character development this season, which takes some of the weight off of the main couple, but it's the surprising chemistry between Gus and Mickey in both love and war where Love thrives.
    • 59 Metascore
    • 60 Critic Score
    Norton's stony glare, and a supporting cast rarely rising above one-line descriptions don't sink proceedings. Even if this is just The Night Manager cross-pollinated with The Godfather, it produces a decent hybrid.
    • 97 Metascore
    • 100 Critic Score
    The end result is sort of like the Coen Brothers directed Get Out while listening to trap music, and it's not like anything I've ever seen.
  9. Nothing about this reboot is a disappointment. If you were a Will & Grace fan the first time, you're going to love it all over again. This is how comedy is done.
    • 57 Metascore
    • 40 Critic Score
    A wonky framing device, where Moynihan fills in gaps in the storylines directly to the audience, is given no explanation as to why it's even there, or who he's talking to; you're left to suspect that the writers couldn't figure out a more organic way to clue viewers in on why these scenes are being show to them.
  10. With all these elements working in its favor, scale back on the titular character and give Missy and the mom some more individual airtime and you might have something worth its timeslot.
  11. When these murders took place in real life, they shook the world with horror and disbelief. Those feelings are reignited with the deliciously morbid quality of The Menendez Murders, literally like a slow motion retroactive murder you can't take your eyes off.
  12. Barry Levinson's The Wizard of Lies is a fascinating, and in many ways horrifying glimpse into one of the most notorious thieves in American history.
    • 89 Metascore
    • 90 Critic Score
    From its dynamic female characters, to its willingness to turn dashing leading men like McGregor into far more fascinating warts and all character actors, to its exquisite (and frequently hilarious) montages about everyday Americana, Fargo's third season is thus far as strong as any of the sterling preceding tales in this snowed in noir universe.
    • 67 Metascore
    • 20 Critic Score
    For now, it lacks such innovation, to say the least. It's as stale as yesterday's paper.

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