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CRITIC SCORE DISTRIBUTION | ||
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Positive:
7
Mixed:
15
Negative:
3
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Critic Reviews
Oct 10, 2018
Season 1 Review:
[“The Violet Hour”] takes some unexpected and some predictable turns along the way, but it’s ultimately an enjoyable, charming story. ... “The Royal We” is less involving than “The Violet Hour.” Shelly’s story proves more compelling than Michael’s and the Romanoff theme is more pronounced and bizarre. ... [The third episode is] the second best of the first three episodes made available for review.
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Oct 2, 2018
Season 1 Review:
By layering his new series with the weighty significance of the Romanoff history, Weiner fuels that same narrative fire [as Mad Men]. Anushka’s insecure boasting, Michael’s restless longing for satisfaction on his own terms, and the strange and incisive take in the third episode (currently under embargo, but the best of the bunch) are areas in which Weiner excels. Even when they’re maddening--and they are more often than not--they feel startlingly, painfully real.
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Oct 2, 2018
Season 1 Review:
The first two episodes are content to operate on perhaps two levels simultaneously, where Mad Men rarely settled for less than five, and the third episode is a satirical horror movie that plays like an unholy fusion of The Shining, Roman Polanski’s Repulsion, and François Truffaut’s film-about-filmmaking Day for Night. ... If the first episodes are representative, The Romanoffs is looser and more relaxed than Mad Men in ways that both please and frustrate.
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Uncle BarkyOct 10, 2018
Oct 16, 2018
Season 1 Review:
They’re fables, not operas--undeveloped vignettes with plot twists that slam the door on ambiguity. Neither of the stories [“The Violet Hour” and “The Royal We”] was fully satisfying, but both had moments of eerie beauty. ... [The third episode, “House of Special Purpose” is] a spooky, gamy, kinky story that felt like a lesser “Black Mirror.”
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Oct 11, 2018
Season 1 Review:
Three extremely uneven installments (all that were made available for review). ... The first, the very bad “The Violet Hour,” reveals itself to be a toothless and deeply unappealing romantic comedy. ... The second episode, the decent-by-comparison “The Royal We.” ... That third episode--the only one made available to me that I would describe as “good.”
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TV Guide MagazineOct 11, 2018
Season 1 Review:
An opulent enterprise often eliciting little more than a head-scratching "Is that all there is" after these over-long vignettes. The tone shifts gears from a trite tale of martial stagnation and temptation from the John Cheever playbook to a more successful attempt to evoke The Twilight Zone's Rod Sterling in a surreal and disorienting "House of Special Purpose." [15-28 Oct 2018, p.8]
Oct 11, 2018
RogerEbert.comOct 9, 2018
Season 1 Review:
It’s hard to believe that Weiner and company couldn’t have hit the same thematic beats and delivered tighter, more engaging drama in the run time of a standard episode of television, but there’s a sense that someone involved here considered length a sign of value. ... In the first two, Melab is particularly subtle and excellent as she steals the superior first film and Bishé reminded me how phenomenal she was on “Halt and Catch Fire” in the second one.
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ColliderOct 2, 2018
IndieWireOct 2, 2018
Season 1 Review:
The writer (or co-writer) and director of every episode relies too heavily on the general mystery surrounding the family to drive interest, and his running times are unforgivably self-indulgent. While the production team has done fine work, from the elegant costuming to lush real-world locations, these episodes don’t deserve their length, especially with Weiner’s uninspired framings and tepid pacing.
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Oct 11, 2018
Season 1 Review:
The connections are faulty and the writing is weak; the Romanov/Romanoff conceit is like caviar on a ham sandwich. The three stories made available for review are slightly salacious, yes, but also narratively trite; it’s as if Mr. Weiner set out to create a hybrid of “Black Mirror” and “Hallmark Hall of Fame.”
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