Daniel D'Addario

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For 157 reviews, this critic has graded:
  • 43% higher than the average critic
  • 4% same as the average critic
  • 53% lower than the average critic
On average, this critic grades 3.2 points lower than other critics. (0-100 point scale)

Daniel D'Addario's Scores

Average review score: 64
Highest review score: 100 Maniac (2018): Season 1
Lowest review score: 10 The Hunt for the Trump Tapes with Tom Arnold: Season 1
Score distribution:
  1. Positive: 89 out of 157
  2. Negative: 19 out of 157
157 tv reviews
    • 80 Metascore
    • 70 Daniel D'Addario
    When [Patricia Arquette] is on-screen, the show becomes about a woman denied the opportunity to live fully and freely, someone who’s never had the pleasure of being understood and so cannot understand herself. The story falls short of urgent relevance, and it didn’t need to be told over seven hours. But Arquette will keep you rapt.
    • 77 Metascore
    • 90 Daniel D'Addario
    Characters as fully rounded as Emma and Sally, drawn to one another despite each one’s manifold flaws, could not be made to feel so complete had they not been written and performed by people who felt a certain amount of love for them. Like the very best characters, both are perpetually consistent and yet retain the capability to surprise. ... Its piquancy in service of characters and relationships makes it the funniest new show of the fall, and the stateside arrival of a voice whose brashness makes clear how overdue it is to break out.
    • 69 Metascore
    • 40 Daniel D'Addario
    Douglas, as congenitally likable as ever, brings charisma but little more to Kominsky, written less as a role than as a series of defense mechanisms and gripes. ... It’s not much fun to watch a curmudgeon be curmudgeonly without someone or something powerful enough to cut through the attitude. Arkin, given grief and not just grievances to play, comes as close as anyone, but he’s outmatched by Douglas’ angry anomie.
    • tbd Metascore
    • 30 Daniel D'Addario
    Philipps generally talks past her guests to redirect to stories from her own life. [Andy] Cohen will point out trends he loves and ones at which he takes umbrage; Busy Tonight is a positivity-only zone and so ends up communicating little at all. ... Talk demands a crystal-clear point-of-view, and Busy Tonight has yet to find that, making its endless references to the language of self-help and its production excesses like the nightly lullaby feel like the antic search for a personality, not the expression of one.
    • 62 Metascore
    • 60 Daniel D'Addario
    While the sixth and final season of House of Cards is as mixed a bag as the thrilling but uneven Netflix drama has yet produced, the good news is that Robin Wright is up to the task of anchoring the show.
    • 68 Metascore
    • 60 Daniel D'Addario
    As entertainment, Murderer remains expertly made, its seductive slow pace gripping viewers by the neck; as morality play, its terms are kept blunt and simplistic enough by Zellner to come through. As advocacy, though, it achieved precisely the opposite of its mission from the start. Building a season around a few years of thwarted Avery and Dassey appeals, cases blunted by the very enthusiasm that the show fostered, ends up lacking much of a point at all, beyond sustaining itself as a TV show.
    • 68 Metascore
    • 60 Daniel D'Addario
    It doesn’t do enough to center [Hervé Villechaize's] story, focusing instead on how the star changed a journalist’s life. But it will begin to make you see Villechaize in a new light, not least because of Peter Dinklage’s performance. Dinklage inhabits the late actor’s unique diction and the ballistic energy he brought to his performances and, later, to annihilating himself. It’s a turn that’s sensitively calibrated despite its mania.
    • 79 Metascore
    • 90 Daniel D'Addario
    This show excels at both the daring, gasp-inducing twist and the methodical construction of slower-burning thrills. The finale, for instance, features a lengthy sequence of almost physically painful tension, a bravura bit of television that could only exist on a show in which we’ve been primed to understand that truly anything can happen.
    • 63 Metascore
    • 70 Daniel D'Addario
    All American tends to have more ideas, and sharper ways of expressing them, in Crenshaw than in Beverly Hills — particularly a subplot about Spencer’s dearest friend from home, a butch young lesbian (“Empire” standout Bre-Z) whose religious mother can’t accept her daughter’s truth. But since so much of the action takes place in Beverly Hills, this is a bit of a stumbling block; the show needs to decide what about that milieu is worth our attention.
    • 77 Metascore
    • 70 Daniel D'Addario
    A worthwhile primer for those who are unschooled in the Nixon presidency, the chaos it unleashed, and how the law eventually brought it to heel. ... The element of the film’s early going that works most well is an analysis of Nixon’s mentality towards Vietnam, and the ways in which his paranoid refusal to lose fueled, and was fueled by, the quagmire there. But after that, the film often defaults to revisiting well-known history.
    • tbd Metascore
    • 70 Daniel D'Addario
    That the film, for which the royal family granted access, is so tightly focused on this sort of cultural exchange makes it a somewhat dutiful watch, and an intriguing document of both Elizabeth’s and her heirs’ priorities.
    • tbd Metascore
    • 80 Daniel D'Addario
    Few characters challenge Johnson for dominance or even parity in the first two installments of “Dancing Queen,” and as it goes on, it’d be nice to get a bit more texture of the Beyond Belief community. ... That interplay between earnest parents and the serious side of a fun-loving queen makes for TV that edges up to inspirational. But it’s also just fun.
    • 48 Metascore
    • 50 Daniel D'Addario
    It fundamentally lacks a point-of-view or anything that help it break free from the generic--even as its stars struggle against a tide bearing them back to the bygone era where this show’s jokes seem to have originated. ... Stevens West and Wayans are both young and fun-to-watch, and do their oddball-couple routine without Cooper better than they do the script’s overwrought dithering over whether or not they’re washed-up.
    • 42 Metascore
    • 20 Daniel D'Addario
    An ensemble comedy set at a retirement community, is of startlingly poor quality, and it’s a show whose stars deserve better.
    • 53 Metascore
    • 30 Daniel D'Addario
    The show that once took specific news anchors--even ones from CBS!--to task now defaults to a portrait of “the Wolf network” so generic as to have no bite at all. Murphy, meanwhile, uses her easily won platform as a morning-show anchor to deliver absolutely nothing that will surprise anyone. ... The supporting characters, once quirky and helpful pals to Murphy, now seem drained.
    • tbd Metascore
    • 40 Daniel D'Addario
    "The Body" isn’t good--its cast phones it in, its reliance on gore as punctuation is witless, its final twist can be seen a mile off. But its willingness to play its own game, to be tawdry and cheap in a streaming landscape in which bigger and bolder statements are made, generally, over the course of stately 10- or 13-episode seasons, feels like something unusual, something worth noting even as only diehards may delight in it.
    • 79 Metascore
    • 80 Daniel D'Addario
    A horror series that doesn’t immediately make a case for itself; like the best of the genre, it’s slowly insinuating, building in power as it tells a story of repressed trauma and family discord. It’s an effective scare-fest that is at its best when the tale does more than jolt the viewer.
    • 53 Metascore
    • 40 Daniel D'Addario
    A show with frustratingly little on its mind, The Good Cop quickly establishes its two leads as familiar personality types and then reiterates who they are, over and over, for ten episodes, with little modulation or development. Worse, for a show that sets up and solves a new mystery every episode, the show relies on the utter lack of intelligence of both its two leads and everyone around them.
    • 55 Metascore
    • 60 Daniel D'Addario
    The challenges Blue faces don’t go beyond traditional sitcom fare--meddling parents, kids developing minds of their own, balancing marriage and work--all of which it handles with élan and wit. Where the show loses its footing is in its depiction of Blue’s co-workers, video game designers whose outright misogyny the show makes the strange decision to play as comedy.
    • 35 Metascore
    • 10 Daniel D'Addario
    Arnold’s show is an unpleasant wade through widely-known and speculated-about Trump ephemera, adding little in its first two episodes but the re-emergence of a personality whose frantic need to be in front of the camera makes for painful viewing.
    • 55 Metascore
    • 70 Daniel D'Addario
    Its inquisitiveness and willingness to be bold and fairly uncynical given all the things it’s trying to be is more than welcome.
    • 76 Metascore
    • 100 Daniel D'Addario
    Maniac is a crescendo across genres that doesn’t stop building. ... Its power comes, in part, from its refusal to sprawl. As a trial of something new, Maniac passes every test, and ascends instantly to take its place among the very best TV of the year. Its eagerness to expose unexpected angles is its great gift.
    • 63 Metascore
    • 70 Daniel D'Addario
    It’s early yet, but the moments of genuine pain gleaned from the first moments of the episode redeem the somewhat aimless, camping next 45 minutes. ... In the absence of a greater theme announcing itself, American Horror Story: Apocalypse, ringing in the end of days with weird hairdos and an unbelievable story of the devil himself, counts as something close to escapism.
    • 48 Metascore
    • 40 Daniel D'Addario
    As Thomas Magnum, Hernandez is charming enough, and does yeoman’s work selling the show’s endless voice-over. ... Hernandez deserves the chance to loosen up a bit; hopefully once the show finds its groove, the voice-overs will bear a little bit less exposition, and this new Magnum will come into relief as a character, not just a famous name.
    • 51 Metascore
    • 50 Daniel D'Addario
    A pilot that’s both intriguing, as we see the bits of deception underpinning an all-male clique, and frustrating, as it often strains credulity as well as certain boundaries of taste.
    • tbd Metascore
    • 80 Daniel D'Addario
    My Brilliant Friend is an impressive effort, a translation of novel to screen that preserves certain of its literary qualities while transmuting others into moving and effective TV.
    • 61 Metascore
    • 50 Daniel D'Addario
    For now, centering The First around a family story that hits painful but often-predictable beats and that siphons away what is, elsewhere, a friskily passionate geekiness is a choice that keeps the worthy show from soaring.
    • 44 Metascore
    • 50 Daniel D'Addario
    Miguel is a good person, on a mission to rescue his sister, a good person suffering through the trauma the family suffered in an early Purge. They’re white-hat heroes, and as flatly uninteresting as the title implies. Other elements of the story bring in enough ambiguity for core fans to stick with this series to its conclusion.
    • 74 Metascore
    • 70 Daniel D'Addario
    You has sharp ideas, if sometimes expressed with thudding lack of subtlety, about social media; it has an interesting premise; it gets the hip-young-literary-Manhattan setting as satisfyingly almost-right as did “Gossip Girl,” in the manner where its departures from reality end up feeling refreshing and fun. But it doesn’t quite have the courage of its convictions.
    • 70 Metascore
    • 80 Daniel D'Addario
    Teens, the show’s obvious intended audience, will relate to The Innocents' high dudgeon, but adults will find a show that punches above its weight, defined by both its stirringly dramatic tone and the two charming performances at its center.

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