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For 299 reviews, this critic has graded:
  • 43% higher than the average critic
  • 3% same as the average critic
  • 54% lower than the average critic
On average, this critic grades 4.1 points lower than other critics. (0-100 point scale)

Brian Lowry's Scores

Average review score: 64
Highest review score: 100 The Vietnam War
Lowest review score: 10 Life of Kylie: Season 1
Score distribution:
  1. Negative: 14 out of 299
299 tv reviews
    • 80 Metascore
    • 70 Brian Lowry
    That's not to say Country Music hits any real false notes. But compared to the best of the Burns-PBS collaborations, it drones on in a way that isn't equal to the high expectations and fanfare associated with Burns' epic made-for-public-TV ballads.
    • 73 Metascore
    • 70 Brian Lowry
    This live-action series from “The Boondocks'” Aaron McGruder and director Mike Clattenburg is also disarmingly and pretty consistently funny, buoyed by Gerald “Slink” Johnson’s portrayal of You Know Who.
    • 69 Metascore
    • 75 Brian Lowry
    Sacha Baron Cohen provides another reminder that being a clown requires serious acting chops, which the famous prankster puts to use in The Spy, a taut Netflix limited series based on a pretty remarkable true story. Set in the early 1960s, it's the Israeli version of James Bond, with a gritty edge and constant sense of jeopardy.
    • 58 Metascore
    • 50 Brian Lowry
    World building is hard enough, but as circus acts go, Carnival Row is like a juggler on a unicycle. It's kind of interesting to watch, but nobody really needs it. Nor does the prejudice directed at the mythological races really come alive, as allegorical as it might feel.
    • 85 Metascore
    • 50 Brian Lowry
    Much of the series is beautiful to look at conceptually, but there's no getting around the sameness of the character design (Gelflings tend to look alike), the lack of expression in those big, soulless American-doll-style eyes, and the lifeless storytelling, which certainly isn't helped by the generic characters and some of the irritating Jar Jar Binks-type dialogue.
    • 76 Metascore
    • 75 Brian Lowry
    Distinctive enough to stand out from the premium-TV pack, if not quite rise to the top of the pyramid.
    • 83 Metascore
    • 80 Brian Lowry
    The language and pacing in Our Boys reflect its Israeli roots, but the emotional core of this powerful fact-based miniseries hinges on tribalism, the intractability of the Israeli-Palestinian conflict, and the adage that an eye for an eye makes the whole world blind. In that, this HBO presentation offers a sobering window into that part of the world, with implications that swell far beyond it.
    • 88 Metascore
    • 90 Brian Lowry
    Succession somehow makes the high-stakes machinations of self-centered, awful, filthy rich people a whole lot of fun.
    • 81 Metascore
    • 80 Brian Lowry
    After what feels like an inordinately slow start, GLOW expands its lens to a much more provocative exploration of the '80s, one less about the TV and movies than accepted mores that don't provide cause for celebration.
    • 64 Metascore
    • 55 Brian Lowry
    Much of it, frankly, feels too much like a middle-aged "Riverdale," and those who give the whole meta aspect any thought will likely become woozy as the cast debates the wisdom and value of a revival in the midst of, you know, doing one.
    • 82 Metascore
    • 70 Brian Lowry
    There are several strong threads, including standout work here by Diane Guerrero, Laura Gomez and Taryn Manning, as well as a #MeToo storyline that actually sees a male character deal with whether actions he deemed innocuous at the time truly were.
    • 48 Metascore
    • 40 Brian Lowry
    Mostly, Four Weddings and a Funeral plays like a cynical grab for attention, based on the not-entirely-faulty assumption that any form of name recognition is an advantage when it comes to making noise in a crowded streaming universe. Yet even if the invitation works on that level, faced with the little matter of creatively capitalizing on that opportunity, Four Weddings won't catch any bouquets.
    • 73 Metascore
    • 80 Brian Lowry
    Deliciously dark...a compulsively entertaining and dark satire that sets a high bar for HBO's upcoming "Watchmen" adaptation.
    • 56 Metascore
    • 30 Brian Lowry
    "Being this good-looking is a gift and a curse," one of the contestants, a model, said by way of introducing himself on Tuesday...As for being tedious, well, it isn't a gift.
    • 77 Metascore
    • 80 Brian Lowry
    I Love You, Now Die might be short on definitive answers for these problems, but it raises all the right questions. Whether Carter was treated unfairly, the loud and clear message is that these kind of conversations need to take place before the next death that, rightly or wrongly, gets attributed to texting.
    • 61 Metascore
    • 75 Brian Lowry
    A compelling if flawed condensation of Gabriel Sherman's book, worth watching for anyone interested in the political-media nexus where Ailes reigned.
    • 77 Metascore
    • 85 Brian Lowry
    What Davies has done, essentially, is combine a family soap opera with elements of "Black Mirror."
    • 72 Metascore
    • 65 Brian Lowry
    An enjoyably derivative eight-episode binge that's plenty of fun, if probably not worthy of all the hype and fuss.
    • 60 Metascore
    • 65 Brian Lowry
    Basically, Grand Hotel plays like a more straightforward, dumbed-down version of the hotel shenanigans in "Jane the Virgin," the truly grand CW dramedy that's heading into its final flurry of episodes. Or think of it as "Downton Abbey," with its upstairs/downstairs component involving the hotel staff and the family in charge, only if they fabricated excuses for both to be undressed as much as ABC standards allow whenever possible.
    • 63 Metascore
    • 50 Brian Lowry
    A woefully uneven Netflix version that makes "Tales" look stale, proving even with the near-mystical 28 Barbary Lane, you can't always go home again.
    • 82 Metascore
    • 80 Brian Lowry
    Based on the three episodes previewed, so far, so pretty good in terms of justifying another dreamy drive up the California coast. That's thanks, in no small part, to this Streep kid, who has demonstrated that she can class up even the classiest of seaside towns.
    • 65 Metascore
    • 60 Brian Lowry
    Any anthology is going to yield somewhat uneven results, but Brooker's hitting percentage has been pretty envious. By that measure, a homerun, a single and a pop up isn't bad, but "Striking Vipers" is the one that really draws blood.
    • 64 Metascore
    • 50 Brian Lowry
    The enthusiasm for the latest four-episode run -- which again features Ruth Wilson's implacable killer, Alice Morgan -- dissipates amid a subplot involving another psychosexual serial killer, feeling more tired than usual.
    • 87 Metascore
    • 80 Brian Lowry
    A welcome if bittersweet, characteristically foul-mouthed reunion, one that more than justifies saddling up the entire gang for one more ride.
    • 66 Metascore
    • 70 Brian Lowry
    The Lord really does work in mysterious ways in Good Omens, which -- given the recent abundance of apocalyptic series -- is surprisingly good, and even when it lags, considerable fun.
    • 87 Metascore
    • 80 Brian Lowry
    Although the precipitating event took place 30 years ago, as DuVernay's earlier documentary "The 13th" illustrated, the subject matter couldn't feel more relevant, with a passion and urgency that ultimately triumphs over any of the structural flaws.
    • 57 Metascore
    • 55 Brian Lowry
    Whatever sizzle there is baked into the premise, in the execution, What/If feels a little too close to "So what?"
    • 70 Metascore
    • 60 Brian Lowry
    A production that's intriguing but ultimately as thin as it is handsome, and emotionally removed in a way that dilutes the larger impact. For those reasons and perhaps others, unlike its conflicted hero, Catch-22 never quite takes off.
    • 82 Metascore
    • 90 Brian Lowry
    Yet by turning the documentary into such a powerful forum for the resolve and resilience of these young women, Carr, in filmmaking terms, really sticks the landing.
    • 83 Metascore
    • 90 Brian Lowry
    Spare, bleak and devastating.

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