Facebook Pages Manager | Malwarebytes Anti-Malware | Daniel Mays
For 419 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 8.8 points lower than other critics. (0-100 point scale)

Dan Fienberg's Scores

Average review score: 59
Highest review score: 100 Mr Inbetween: Season 1
Lowest review score: 0 Beauty and the Beast (2012): Season 1
Score distribution:
  1. Negative: 48 out of 419
419 tv reviews
    • 56 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.
    • 78 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.
    • 81 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.
    • 76 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.
    • 61 Metascore
    • 70 Dan Fienberg
    The series builds well after its stop-and-start beginning. It reminds you that before House of Cards went off the rails with soap opera high jinks and Kevin Spacey hamminess, it was a promising show about the personal cost of power. Think of The First similarly, rather than as Mars Trek, and you could be intrigued.
    • 83 Metascore
    • 80 Dan Fienberg
    The show is smart about the connective tissue of memory and how places or sensory experiences can serve as time machines, making a lie of any suggestion that it's easy to move forward after tragedy. ... This already feels like a show of some worth, even if it requires accepting yet another stream of TV into what is a roaring river.
    • 46 Metascore
    • 50 Dan Fienberg
    The generalities are in place for a workable comedy. It's the specifics that are often hacky and generally unfunny, yet they're frequently rewarded by what feels like a surplus of audience approval, which always ends up being one of the elements that make multicam haters cringe.
    • 43 Metascore
    • 50 Dan Fienberg
    [Rob Lowe as director] generates a few moments of eerie suspense, and one or two silly-scary scenes produce the right combination of gasps and laughter. He also gets a sturdy, believably perplexed performance from his leading man. Even better is Grace.
    • 74 Metascore
    • 70 Dan Fienberg
    An extremely watchable stalker drama. ... The breathless pacing of You is what could well make it a juicy guilty pleasure for many viewers, but it falls short of the kind of thoughtfulness that could have made it special.
    • tbd Metascore
    • 80 Dan Fienberg
    Young Elena and Lila dominate the series' first two hours so completely that none of the other characters in their orbit really stand out, which also means none of them stand out as fake or distracting. ... The series' first two hours mark an extraordinarily promising beginning.
    • 44 Metascore
    • 50 Dan Fienberg
    DeMonaco's conceptual interest in this world kept me watching over the three episodes sent to critics even as the execution made me fatigued.
    • 57 Metascore
    • 40 Dan Fienberg
    Unjustifiably bloated, superficially obsessed with torture and the trappings of manly swagger and boasting enough story in the two episodes sent to critics to fill a full season of a more contemplative show, Mayans MC finds the brand slightly invigorated by a new cultural context, but fails utterly to replicate or even emulate much of what Sons of Anarchy actually did best.
    • 76 Metascore
    • 80 Dan Fienberg
    By the second or third episodes I realized I was actually trying to figure out the case, which was never the case with the dick-drawing and the desire to bring the last few episodes became much more about getting answers than just simple amusement. In fact, I barely laughed at all in the season's homestretch, proving that while American Vandal may function as a parody/satire of Serial and The Staircase and The Jinx, it's just as capable of being a moody Encyclopedia Brown for the new millennium.
    • 70 Metascore
    • 70 Dan Fienberg
    The pacing is sometimes teasingly effective and sometimes just infuriatingly slow, but I respect its gateway oddness, like The Innocents is preparing a Netflix juvenile demographic for the more substantive, patience-intensive oddness of something like a Sens8 down the road.

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