For 617 reviews, this critic has graded:
  • 35% higher than the average critic
  • 4% same as the average critic
  • 61% lower than the average critic
On average, this critic grades 8.5 points lower than other critics. (0-100 point scale)

Dan Fienberg's Scores

Average review score: 60
Highest review score: 100 The Handmaid's Tale: Season 1
Lowest review score: 0 Beauty and the Beast (2012): Season 1
Score distribution:
  1. Negative: 56 out of 617
617 tv reviews
    • 34 Metascore
    • 30 Dan Fienberg
    With Camil working his Rogelio magic, Leggero pushing aggressively for chuckles, Diaz's amusingly fresh characterization and fleeting warm-hearted moments, I can see the elements in Broke that might coalesce into something better eventually. But it's harder, based on the three episodes I've seen, to know why I'd want to stick around to see what comes together.
    • 63 Metascore
    • 80 Dan Fienberg
    Home Before Dark is a good 10-episode watch — at times very good. ... Prince is remarkable, and for every fleeting moment that you sense the "actor" in her coming to the surface, she follows it with a beat that's utterly spontaneous and affecting. ... I was consistently impressed by how many of the bigger things Home Before Dark does right. It all begins and ends with Prince.
    • 67 Metascore
    • 60 Dan Fienberg
    The drama dwells on concerns that are very human in origin, sometimes using sci-fi elements as a catalyst and sometimes barely integrating them at all.
    • 76 Metascore
    • 70 Dan Fienberg
    The 10-episode third season of Ozark is a substantial improvement over the lugubrious second season and, although it still suffers from many of the show's trademark inconsistencies, this is probably the best Ozark has ever been. At almost every turn, things point to a show that's actually trying to make refinements, which I can respect.
    • 85 Metascore
    • 80 Dan Fienberg
    There's a tremendous intimacy here as, sometimes in a very literal sense, you're being let behind a curtain. And in that intimacy, buoyed by language code-switching from Yiddish to English to German, Unorthodox finds a lot of humanity, even in the characters who are surely villains. That plus the vulnerable-then-fierce performance from Haas allowed me to put aside other reservations and find fascination in this occasionally wobbly, often inspiring story.
    • tbd Metascore
    • 80 Dan Fienberg
    Either a documentary about urban planning and the successes and failures of America's public housing initiatives is going to sound like your kind of escapist intellectualism (or intellectual escapism) or it won't. Those with even basic curiosity will find Sarah Burns and David McMahon's film a smart and substantive thing, worth watching and mulling over in its empathetic pragmatism.
    • 75 Metascore
    • 70 Dan Fienberg
    The doc feels like it started life as a message film, lost the thread completely and ended up, especially in its closing installments, with a lot of hastily unfolding plot. It's a series that might, in its ideal form, have been a substantive and nourishing meal, but premieres on Netflix as a yummy bag of potato chips. ... I'll leave it to the directors to decide whether, amid what may be turn out to be great popularity for the show, they miss the desired nutritional value.
    • 79 Metascore
    • 70 Dan Fienberg
    Andrew Rossi's new HBO documentary, After Truth: Disinformation and the Cost of Fake News, isn't always cohesive or coherent, but it tells a story that would still be harrowing and relevant regardless of the moment in which it premiered.
    • 90 Metascore
    • 90 Dan Fienberg
    The fourth season of Brockmire is actually a tremendous slice of speculative satire, a companion piece of sorts to Idiocracy in its commentary on the descent of human intellect, our inevitable surrender to encroaching technology and tangible consequences of our disrespect of the environment. There are parts of this season that feel like a real heir to Kurt Vonnegut in terms of the blend of rampant silliness and earnest concern.
    • 83 Metascore
    • 80 Dan Fienberg
    Feel Good isn't a series without joy or pleasures, mind you, but it's mostly a tart, clear-minded, sometimes funny series about exactly how much (or little) damage love can repair and the harder, more personal work necessary to fix what's left.
    • 63 Metascore
    • 50 Dan Fienberg
    The soulless pleasure seekers and manipulated synthetics of Westworld continue to leave me cold — even in a third season full of interesting narrative deviations that highlight many of the show's strengths but also swiftly reminded me of many of its frustrations.
    • 81 Metascore
    • 80 Dan Fienberg
    A six-hour nightmare with an insidious creep. Some viewers are likely to complain that nothing sufficiently dramatic or awful is happening — and they'll surely be wrong — before the series twists the narrative knife by the end. ... These six hours should freak you out; if they don't, that demands introspection too.
    • 75 Metascore
    • 70 Dan Fienberg
    Genre familiarity may make ZeroZeroZero less fresh, but it remains quite watchable, if you can ignore its vaguely nihilistic streak, thanks to a good cast, confident direction and cinematography that's really quite stunning at times.
    • 90 Metascore
    • 100 Dan Fienberg
    One of these days Emmy voters will notice that when it comes to half-hour TV direction, the thing Adlon is doing here, week in and week out, is astonishingly attentive, empathetic and, when it wants to be, hilarious. The show is loose, but never scattershot and Adlon's directing confidence is equally evident in how the camera navigates around the Fox home and in how well the entire series plays to the strengths of its actors.
    • 61 Metascore
    • 60 Dan Fienberg
    Both Lil Dicky and Dave lean so heavily into the puerile, with only hit-and-miss comic results, that I'm not going to blame anybody unable to get as far as the fifth episode, which serves as an intended re-contextualizing of the themes of the entire show and actually succeeds on that level.
    • 70 Metascore
    • 70 Dan Fienberg
    You could just watch Queen Sono as a standard piece of spy TV and there's fun to be had in that experience, but ... this is a far more complicated and immediate perspective than the one ever attempted by that Jennifer Garner favorite. Maybe Queen Sono isn't always exciting, but it's sometimes provocative in very real ways.
    • tbd Metascore
    • 50 Dan Fienberg
    A truTV series with a lot of potential, but a muddled sense of purpose. Those who don't know Hoggart's blend of strychnine-laced British cheeriness will probably be even more confused, because out of the three episodes sent to critics only one really exhibited the traits of a repeatable ongoing series.
    • 68 Metascore
    • 60 Dan Fienberg
    Brevity isn't always the strongest attribute of I Am Not Okay With This and my biggest complaint after watching this first season is that I wanted, or even needed, more — more seasons, but also more depth, more story and just a little more freshness.
    • 70 Metascore
    • 80 Dan Fienberg
    It's haunting and hypnotic, a show of marrow-seeping mood and a unity of vision that carries through every frame. If it also turns a corner from entrancingly opaque to a bit on-the-nose by the end, for fans of Garland's Ex Machina and Annihilation, chances are that you'll be too absorbed to be bothered.
    • 92 Metascore
    • 100 Dan Fienberg
    Better Call Saul keeps getting nominated for drama series, as it deserves to, and Odenkirk keeps being nominated as lead actor, which he deserves — but if you are a viewer who thinks that the show is compelling and that Jimmy as a character is compelling, I would argue that Seehorn's tough, funny, sympathetic, occasionally damning interactions with Jimmy are the reason the entire thing holds together.
    • 55 Metascore
    • 60 Dan Fienberg
    This is a ballsy, unnerving, entertaining, overreaching show, one likely to provoke and annoy in equal measure. It may require an almost Talmudic level of study to determine if Hunters is good or bad for the Jews, but I'm willing to participate.
    • tbd Metascore
    • 80 Dan Fienberg
    The high drama of Watergate is, fortunately, gripping enough that Slow Burn is satisfying and timely without the additional flourishes.
    • 39 Metascore
    • 40 Dan Fienberg
    It skews really young, really basic and really simplistic, but if you can accept how primitive and occasionally even amateurish it is, maybe you'll be able to fixate on the terrific soundtrack and promising young cast and ignore how many times you've seen basically this story delivered with vastly more polish.
    • 64 Metascore
    • 50 Dan Fienberg
    It's enough to tentatively say that there actually is a version of For Life that could be quite solid. After two episodes, it's mostly there in hints and subplots.
    • 71 Metascore
    • 70 Dan Fienberg
    Danes and Patinkin are obviously tremendous at what they do here, but neither is being asked to do anything new or different or exciting. ... My favorite part of the new season, honestly, might have been reflecting on how, after this lengthy Homeland journey, the character who has gravitated up the call sheet by virtue of sheer survival has been Maury Sterling's Max, now given a meaty subplot.
    • 36 Metascore
    • 30 Dan Fienberg
    Indebted takes one of the hoariest sitcom premises imaginable and struggles to execute it with even a modicum of consistency or confidence. The Good Place made the difficult look easy. Indebted makes the familiar — good comedy is never actually easy — look difficult. ... These performers are too good for a show that's so instantly and inevitably forgotten.
    • 58 Metascore
    • 40 Dan Fienberg
    After the pilot, I was prepared to be enthusiastic about CBS having landed an above-average version of a very CBS-y show. After the second episode, I was prepared to savage the show. And after three? It's just another mediocre broadcast show that probably could have been a lot better.
    • 73 Metascore
    • 70 Dan Fienberg
    Ultimately, I think I ended up feeling positive about Mythic Quest: Raven's Quest despite thinking the show is very hit-and-miss on an episodic level. It's not consistent, but it's already trending in the right direction in a story that, unlikely It's Always Sunny in Philadelphia, features characters who can and should grow.
    • 62 Metascore
    • 50 Dan Fienberg
    Eevery time Locke & Key hits a peak — episodes three and four and seven through nine are the highlights — it's followed by a valley. ... Overall, Locke & Key struggles to establish the stakes for the series — I still can't tell you what would happen if Evil Well Girl (Laysla De Oliveira) achieved her evil goals — and struggles more to decide who it's intended for.
    • tbd Metascore
    • 70 Dan Fienberg
    It's finally the cast and the little investigative beats that kept me watching and enjoying Manhunt: Deadly Games through to the end. It doesn't sell Jewell's victimization short, nor does it let the media or government off the hook. It just shows how stories like this can benefit from depth, no matter what other problems they have.

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