For 429 reviews, this critic has graded:
  • 38% higher than the average critic
  • 3% same as the average critic
  • 59% lower than the average critic
On average, this critic grades 9 points lower than other critics. (0-100 point scale)

Dan Fienberg's Scores

Average review score: 59
Highest review score: 100 America to Me: Season 1
Lowest review score: 0 H8R: Season 1
Score distribution:
  1. Negative: 49 out of 429
429 tv reviews
    • 84 Metascore
    • 80 Dan Fienberg
    The result is a season that, through its first five episodes, makes enough of its fresh faces and characters to avoid boredom and yet is still resolutely and successfully Narcos in its DNA.
    • tbd Metascore
    • 30 Dan Fienberg
    There are a lot of [songs], as many as four or five per episode, and they've mostly become so smoothed out and overproduced that even when they're fitfully catchy, and some absolutely are, no individual song can cut through the sameness of the show's soundtrack, much less the outside pop landscape. ... From James' substance abuse to Caitlin's miscarriages to Erica's mommy issues, Westside sands down anything distinctive and dangerous.
    • 66 Metascore
    • 80 Dan Fienberg
    This eight-episode comedy takes some of what works best about Mom into a single-camera format, finding a way to laugh both at and with its main characters while still letting them retain most of their dignity. ... Arkin's performance is his best since Little Miss Sunshine and perhaps some time before that, one perfectly timed droll deadpan after another. And with wry incredulity, Douglas plays entirely different, complementary notes.
    • 43 Metascore
    • 40 Dan Fienberg
    The enticing logline and lovely, painterly opening credits of CBS All Access' new Kevin Williamson-created drama Tell Me a Story tease a show that, unfortunately, is much more clever, coherent and ultimately fun than what the first five episodes actually deliver.
    • 59 Metascore
    • 50 Dan Fienberg
    A pilot that's conspicuously bland, but not without some fresh-faced CW-style appeal.
    • 74 Metascore
    • 70 Dan Fienberg
    After five episodes of foundation-laying that could, if I'm being generous, have been dispatched in two, Chilling Adventures of Sabrina finally kicks into gear. There's a narrative momentum to the season's end that has me looking forward to a much more fully realized, and already ordered, second season.
    • 62 Metascore
    • 60 Dan Fienberg
    The shift in focus from Frank to Claire Underwood finds House of Cards somewhat reinvigorated through its first five new episodes. It's a change that comes far too late for the show to escape many of its worst narrative instincts, or a surplus of flat recurring characters, but for the first time in years House of Cards has something new and frequently interesting to say.
    • 68 Metascore
    • 50 Dan Fienberg
    I admire that it's more driven by intellect than passion, while lamenting its lack of clear and smooth construction.
    • 64 Metascore
    • 50 Dan Fienberg
    The series tries, with limited success, to be both a star vehicle for Fillion and also an ensemble. It doesn't pay off in the pilot, creating too many characters and too many plotlines for a rhythm to ever get properly established.
    • tbd Metascore
    • 50 Dan Fienberg
    An OK showcase for the throwback aesthetic Baldwin aspires to, a questionable showcase for his gifts as an interviewer and a reminder that when Baldwin dabbles, he still dabbles with full commitment.
    • 55 Metascore
    • 50 Dan Fienberg
    Figuring out how to make Mel, Maggie and Macy more fully inhabited characters and tapping better into their witchy powers and their big, mythology-driven mission is the next step that made me wish I'd been able to watch a couple more episodes. It's rare to see a show of this type that puts so much effort into nailing down the subtext only to leave the text and its execution so frequently limp.
    • 75 Metascore
    • 80 Dan Fienberg
    The Conners is a TV show capable of standing on its own two feet.
    • 55 Metascore
    • 40 Dan Fienberg
    Titans is a try-too-hard stab at occupying a middle ground between grumpy, but still family friendly, DC offerings like The CW's Arrow and the definitely-not-for-kids Marvel shows on Netflix. ... What it doesn't mean, at least through the three episodes sent to critics, is any sort of extra creative depth or narrative exploration.
    • 63 Metascore
    • 70 Dan Fienberg
    It's got some good, likable performances and a truly promising lead in Daniel Ezra, and that's enough for a conditional recommendation, though through three episodes I'm not sure All American is settling into its own identity with any real authority.
    • 79 Metascore
    • 80 Dan Fienberg
    The Haunting of Hill House, adapted very loosely by Mike Flanagan from the iconic Shirley Jackson novel, is often scary as hell and possessed of enough character-centric nuance to carry viewers through to the end--even if some of the visceral frights peter out well before the conclusion.
    • 56 Metascore
    • 60 Dan Fienberg
    [The Romanoffs] comes across as a work of simultaneously boundless artistic ambition and ego, a project capable of amazing and infuriating.
    • 48 Metascore
    • 40 Dan Fienberg
    Given the opportunity to sing, dance and flail around ridiculously in the pilot, Wayans and West try hard and I smiled frequently at their effort. In the one episode I've seen, Mallard is only asked to be perplexed by a couple talking only about their scheduled sex nights and need for 10+ hours of sleep and yet looking TV pretty, rested and fit at all times. He's convincing at not understanding what's going on or why. Whether that's acting remains to be seen.
    • 50 Metascore
    • 40 Dan Fienberg
    It has all of the cutting-edge social commentary of a CBS sitcom from the early 1970s.
    • 57 Metascore
    • 30 Dan Fienberg
    The construction of the God Friended Me pilot is simply an ungodly mess. ... Every beat is so rushed that the pilot feels like a series finale in which all the stories have to be tied up neatly and it reaches an end that doesn't set up a series at all.
    • 53 Metascore
    • 60 Dan Fienberg
    English and company's writing is fairly sharp and Bergen's barbed tongue is still impeccable. Some people are going to come away from these episodes wondering why Murphy Brown has become so political and those people are strange and never watched the original show. A more legitimate complaint, though, is that even with a production window reportedly tightened to allow the show to be more timely, Murphy Brown can't begin to keep up with the genuine news cycle and the best the show can do is be specific, which isn't the same as being current.
    • 51 Metascore
    • 50 Dan Fienberg
    A very good cast and a steady vein of humor keep A Million Little Things watchable, while the fetishizing of death and a failure to generate consistent complementary emotions keep it from rising above a well-intentioned slog, a derivative Thirtysomething Reasons Why.
    • 47 Metascore
    • 40 Dan Fienberg
    It doesn't do much good having a hospital in which basically every permutation of medical case is possible if every case feels like a pale imitation of something that worked on another medical show.
    • 57 Metascore
    • 50 Dan Fienberg
    It's all just straightforward follow-the-clues, rinse and repeat, with no real twists or high drama, but a steady pace. ... Almost none of the character-based exposition in the pilot feels fluid and easy--still artistic compared to something like Bull--yet it's done in a way that lets the pilot move along and, after 42 minutes, I know a few things about several main characters. It's also just enough character development for the core cast members to do solid work.
    • 75 Metascore
    • 100 Dan Fienberg
    Mr Inbetween was nothing short of a stunning revelation.
    • 48 Metascore
    • 50 Dan Fienberg
    The pilot script's banter is, at the very least, better than the pervasive voiceover. That's more product of very solid supporting casting than writing, as Hill and Knighton slide easily into TC and Rick's shoes and will probably make a strong case for this becoming more of a true ensemble than a star vehicle. ... Hernandez isn't bad. At all. He just isn't Tom Selleck.
    • 55 Metascore
    • 40 Dan Fienberg
    All I can speculate based on the pilot is that either none of the characters on that airplane are interesting or else the pilot made a huge mistake in terms of which characters to lead with. The Stones are, simply, dull. They're very pretty, mind you. And they're very earnest.
    • 76 Metascore
    • 80 Dan Fienberg
    Just because nobody could or should feel this is a definitive King Lear detracts only somewhat from the undeniable joy that comes from even two hours of watching Anthony Hopkins gnash his teeth, wail and go gloriously mad opposite one of the best supporting casts imaginable.
    • 35 Metascore
    • 30 Dan Fienberg
    I can nod enthusiastically with Tom Arnold's non-stop indignation, but if his new show was meant to educate me or amuse me, it failed.
    • 77 Metascore
    • 70 Dan Fienberg
    There's a deeper cultural dig that Warriors of Liberty City could be doing, one on display in America to Me, talking in more depth about economic opportunities, the traps of race-based assumptions, community-police relations, a biased criminal justice system and more. Maybe and hopefully the pairing of this often very good show with that often great show will cause viewers wooed by the football hook of Warriors of Liberty City to also watch its Starz partner, or vice vers
    • 63 Metascore
    • 50 Dan Fienberg
    I call the premiere of American Horror Story: Apocalypse "silly," but that's hardly the worst thing in the world. The fast-moving pre-credit sequence, directed by Bradley Buecker against a deceptively sunny Los Angeles backdrop, was packed with malevolent chuckles.

Top Trailers